최근 셰익스피어 영화의 흐름: 2000년대 <맥베스>를 중심으로

Abstract

After 2000, three new adaptations of Shakespeare’s Macbeth incite our interests. Michael T. Starks from US, Geoffrey Wright from Australia, and Rupert Goold from England each directed quite different Macbeth films. In 2006, Starks created a typical American business man for Macbeth, and reinterpreted Macbeth’s behavior from American perspective, while Wright created a gangster for Macbeth and adapted him to a protagonist of an action movie in the same year. On the while, in 2010, Goold tried to create a modern Macbeth without damaging its original work of Shakespeare. Even though these three films were made in the same age, they show different attempts reflecting different interests and social backgrounds. When we consider the different adaptations of Macbeth, we can notice that these three movies all reflect their own nationalities and their own view of Shakespeare. The English director Goold is very careful to modernize the original work by keeping it’s dramatic tradition. On the while, Wright and Starks are free to change the original Macbeth into new figures in modern American and Australian societies, ignoring the political and moral complexity. It is noticeable that all these works have limitations as adaptation films. The primary cause seems to lie in the budget problem. In the fact that Starks and Goold produced their works for television movies, we can easily presume the limitations of the two works. Wright’s work seems to spend much money for the film and to use many movie techniques. But his work does not show the excellent quality as a modern movie and remain as a crime entertainment. The complicated meaning of Shakespeare’s work is changed into a Christian moralistic vision in this film. After all, despite their own different attempts, the common discomforts of the three films lie in the incomplete adaptations. The three new figures of Macbeth seem to be much more real to modern audience, for they are the figures of our contemporary. But the discomfort mainly comes from the unbalance between the modern situations and the original work. They don’t adapt Shakespeare to modern situations completely, and borrow the original dialogues from Shakespeare. Therefore, they become neither any representations of Shakespeare nor any modern reinterpretations.