셰익스피어 무대와 스크린 경계 넘기: NT Live와 돈마웨어하우스 <코리올라누스>
Crossing the Boundary Between Shakespeare Stage and Screen: NT Live and Donma Warehouse’s Coriolanus
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This paper gives accounts of the beginning of the relationship between Shakespeare stage and screen in the context of history, and of NT Live as an innovative programme of using satellite technology to broadcast real-time footage of stage performances to screens of cinemas around the world, then of the Donma Warehouse production of Coriolanus as an example of open dialogue crossing boundaries between performances on theatre stage and on cinema screen. NT Live programme has solved a long-standing problem that there is not enough cinema in the theatre, while that there is not enough theatre in the cinema. Its success has brought celebrities to perform a Shakespeare character, and Tom Hiddleston is an exemplary case, who is widely known for his role as Loki in the Thor and Avengers series. His Coriolanus becomes a Coriolanus who contends with looking like Hiddleston-Loki, and adopts the coping mechanism to do with his character. The production’s publicity is dominated by a photograph of Hiddleston as Coriolanus, thereby what the production reveals consistently is the Hiddleston-Loki-Coriolanus association. This association, however, does not make Shakespeare subservient to the star actor’s fame, but stimulates the latter to use his glamour to illuminate the former: what makes the actor popular is Shakespeare’s popularity. It offers a new kind of interpretation, that is, a customized production in accordance with a certain form of popular culture appealing to the audience’s needs and desires.
Abstract
This paper gives accounts of the beginning of the relationship between Shakespeare stage and screen in the context of history, and of NT Live as an innovative programme of using satellite technology to broadcast real-time footage of stage performances to screens of cinemas around the world, then of the Donma Warehouse production of Coriolanus as an example of open dialogue crossing boundaries between performances on theatre stage and on cinema screen. NT Live programme has solved a long-standing problem that there is not enough cinema in the theatre, while that there is not enough theatre in the cinema. Its success has brought celebrities to perform a Shakespeare character, and Tom Hiddleston is an exemplary case, who is widely known for his role as Loki in the Thor and Avengers series. His Coriolanus becomes a Coriolanus who contends with looking like Hiddleston-Loki, and adopts the coping mechanism to do with his character. The production’s publicity is dominated by a photograph of Hiddleston as Coriolanus, thereby what the production reveals consistently is the Hiddleston-Loki-Coriolanus association. This association, however, does not make Shakespeare subservient to the star actor’s fame, but stimulates the latter to use his glamour to illuminate the former: what makes the actor popular is Shakespeare’s popularity. It offers a new kind of interpretation, that is, a customized production in accordance with a certain form of popular culture appealing to the audience’s needs and desires.
참고문헌 (17)
- Grossberg, Lawrence, "The Adoring Audience: Fan Culture and Popular Media", pp.50~65 (1992), Routledge
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- Rothwell, Kenneth S, "A History of Shakespeare on Screen: A Century of Film and Televison" (1999), Cambridge UP
- Sternheimer, Karen, "Celebrity Culture and the American Dream: Stardom and Social Mobility" (2011), Routledge
- Wells, Stanley, "William Shakespeare: The Complete Works" (2005), Clarendon