Barry Jackson’s Modern Dress Experiment: The Myth of ‘Shakespeare Our Contemporary’
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This essay examines Barry Jackson’s modern dress experiments, questioning the validity of the idea of “Shakespeare Our Contemporary” and re-considering the meaning of Shakespeare’a universality. For this purpose, the paper focuses on Jackson’s two modern dress experiments, Hamlet (1925) and Macbeth (1928). As a successful translation of Shakespeare’s classics into the modern world, Jackson’s Hamlet is often taken to be a proof of Shakespeare’s universality. However, a close examination reveals the production full of anachronism. Furthermore, Shakespeare’s universality is the result not so much of his contemporaneity but as of his vagueness and anachronism. The varying degree of success of Jackson’s Hamlet and Macbeth exposes the idea of Shakespeare our contemporary as a myth, pointing that his universality may be nothing but our willingness to experience Shakespeare “out of joint.”
Abstract
This essay examines Barry Jackson’s modern dress experiments, questioning the validity of the idea of “Shakespeare Our Contemporary” and re-considering the meaning of Shakespeare’a universality. For this purpose, the paper focuses on Jackson’s two modern dress experiments, Hamlet (1925) and Macbeth (1928). As a successful translation of Shakespeare’s classics into the modern world, Jackson’s Hamlet is often taken to be a proof of Shakespeare’s universality. However, a close examination reveals the production full of anachronism. Furthermore, Shakespeare’s universality is the result not so much of his contemporaneity but as of his vagueness and anachronism. The varying degree of success of Jackson’s Hamlet and Macbeth exposes the idea of Shakespeare our contemporary as a myth, pointing that his universality may be nothing but our willingness to experience Shakespeare “out of joint.”
참고문헌 (30)
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