The thesis investigates the processes by which works of ancient literature, directly or indirectly, make themselves important on the modern stage. Using the Royal Shakespeare Company's work as the basis, three case- studies are explored in order to look closely and sequentially at the work of the director, the actor and the audience in creating performance. First, however, there is consideration of what is done to the ancient literary texts to remake them as modern English-language theatrical scripts ready for the early decisions of a director and design team. These decisions are in turn negotiated and developed in the individual work of actors preparing and presenting the character each will embody. Finally, aided by music and lighting, the audience makes its response to the combined creative processes exercised so far. The presence and contributions of an audience complete the performance. The texts on which these performances are based highlight the differing times through which the ancient work is filtered. The first is a modern translation of Euripides' ancient tragedy, Phoenician Women; the second, Shakespeare's Troilus and Cressida, is an Early Modern re-working of material drawn partly from the Iliad but also from later medieval sources; the third is a modern physical theatre script closely based on the contemporary translation of Ovid's Metamorphoses by Ted Hughes. Three very different originating performance conventions underlie the case- studies. The conclusion pursues the question 'what's Hecuba to him?' into its sister question: 'what's he to her?' This second question focuses on the ways in which Hamlet's different practitioners - directors, actors and audience- impose themselves upon the ancient.
| Identifer | oai:union.ndltd.org:bl.uk/oai:ethos.bl.uk:579800 |
| Date | January 2012 |
| Creators | Jackson, Catherine |
| Publisher | Open University |
| Source Sets | Ethos UK |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
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