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셰익스피어의 『 헨리 5 세 』 개작 연구: 암행 왕 장면을 중심으로

Adaptations of Shakespeare’s Henry V, then and now: Focusing on the Disguised King Scene

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초록

Shakespeare’s plays derive their vitality from performance, engaging with audiences across the ages. This study examines film adaptations of Henry V, with a particular focus on the disguised king scene. The first half explores the first quarto (Q1, 1600), probably considered a politically-adapted version of Henry V. Although less artistic than the First Folio (F1, 1623), Q1, when analyzed within its immediate political context, provides valuable insights into the play’s original reception. The second half examines the disguised king scene in three modern film adaptations: Olivier’s (1944), Branagh’s (1989), and Sharrock’s (2012). Each film seeks to reflect the play’s relevance for the film’s respective periodwhether through pro-war sentiment, anti-war themes, or ambivalence—but none fully captures the play’s complexity. As Henry V continues to resonate with audiences, there remains a call for authentic adaptations that preserve its intricacy through imaginative co-creation between Shakespeare and directors.

Abstract

Shakespeare’s plays derive their vitality from performance, engaging with audiences across the ages. This study examines film adaptations of Henry V, with a particular focus on the disguised king scene. The first half explores the first quarto (Q1, 1600), probably considered a politically-adapted version of Henry V. Although less artistic than the First Folio (F1, 1623), Q1, when analyzed within its immediate political context, provides valuable insights into the play’s original reception. The second half examines the disguised king scene in three modern film adaptations: Olivier’s (1944), Branagh’s (1989), and Sharrock’s (2012). Each film seeks to reflect the play’s relevance for the film’s respective periodwhether through pro-war sentiment, anti-war themes, or ambivalence—but none fully captures the play’s complexity. As Henry V continues to resonate with audiences, there remains a call for authentic adaptations that preserve its intricacy through imaginative co-creation between Shakespeare and directors.

참고문헌 (26)

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  4. Barton, Ann, "Essays, Mainly Shakespearean", pp.207~233 (1994), Cambridge UP
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  8. "Internet Shakespeare Editions" (2018), University of Victoria. Friends of the ISE. SSHRC
  9. "Internet Shakespeare Editions" (2018), University of Victoria. Friends of the ISE. SSHRC
  10. Henry V., "Directed by Kenneth Branagh", Renaissance Film, ~ (1989)
  11. Henry V., "Directed by Laurence Olivier", Eagle-Lion Distributors, ~ (1944)
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  14. Livingstone, David, "Silenced Voices : A Reactionary Streamlined Henry V in The Hollow Crown", Multicultural Shakespeare : Translation, Appropriation and Performance, 12(27), pp.87~100 (2015)
  15. Loehlin, James N., "Shakespeare in Performance: Henry V" (1997), Manchester UP
  16. Mulready, Cyrus, "Making History in Q1 of Henry V", English Literary Renaissance, 43(3), pp.478~513 (2013)
  17. Orgel, Stephen, "The Authentic Shakespeare", Representation, (21), pp.1~29 (1988)
  18. Patterson, Annabel, "Shakespeare and the Popular Voice" (1989), Basil and Blackwell
  19. Pittman, L. Monique, "Shakespeare and the Cultural Olympiad Contesting Gender and the British Nation in the BBC’s The Hollow Crown: Contesting Gender and the British Nation in the BBC's The Hollow Crown", Athens: Borrowers and Lenders: The Journal of Shakespeare and Appropriation, 9(2) (2015)
  20. Salkeld, Duncan, "The Texts of Henry V", Shakespeare, 3(2), pp.161~182 (2007)
  21. Shakespeare, William, "King Henry V: The Arden Shakespeare" (1995), Routledge
  22. Šonková, Markéta, "Propaganda on Screen: Adapting Shakespeare’s Henry V", Re:Views, (5), pp.18~26 (2016)
  23. Thea Sharrock, "The Hollow Crown: Henry V", BBC Two, ~ (2012)
  24. Trevor Nunn, "Twelfth Night", Entertainment Film, ~ (1996)
  25. Walter, J. H., "King Henry V: The Arden Shakespeare", pp.xi~xlii (1954), J. H. Harvard UP
  26. Wells, Robin Headlam, "Shakespeare’s Humanism" (2005), Cambridge UP

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