S of theater – and moviegoers, we are used to see one more innovative new take on Shakespeare’s plays than the other. “Romeo and Juliet” is set in Sarajevo, Macbeth can become veterans, and “Hamlet” could be a modern thriller (now at the Gothenburg Opera) or reworked during the thrilling piece entitled “Claudius stag” (the fledgling Drama mill).
When Jeanette Winterson choose to move “a winter’s tale,” the story of the deadly jealousy young Leontes of Sicily, to the financial crisis, London and make him a despotic hedge fund managers, we are therefore totally caught on.
Equal naturally feels that the poor shepherd and his son for the money they found along with an abandoned child runs a restaurant outside of New Orleans, while Autolycus lives up to its name and has become a bilskojare of rank.
otherwise everything is the same. That is to say, Leo (ntes) are still trying to murder his best friend that he suspects that he is having an affair with his heavily pregnant wife, here in beautiful French woman and nightclub singer named MiMi. And yes, their newborn baby is also given in the lurch because Leo did not believe that the child is his, but here in a so called baby hatch outside a hospital.
It is generally a very cheerful and playful Jeanette Winterson, with an unsuspected talent as a visionary video game developer and general technical versed in contemporary technology, we can meet the “time gap”. The text is peppered with hip contemporary markers. Possibly the reader may wonder why the technique described in the first act seems to have evolved in the eighteen years that elapsed between it and the second act. But then of course this is also one of Shakespeare’s so-called fairy play.
At the risk of revealing a little too much can also be said that the “time gap” eventually developed into frisky folk comedy with rainbow where everyone loves everyone in a collective New age -gemenskap, while in an ingenious way, the play is faithful with their themes revenge, jealousy and forgiveness.
It’s a fun creative interpretation (Winterson manages to get into a cinematic cameo role) where Winterson devotee gets his dose of poetic vibrant romance of all gender boundaries recognized from her breakthrough novel, “oranges are Not the Only fruit” as well as “Written on the body” . She also writes in a love triangle with bisexual undertones between Leo, friend Xenos and Mimi, love, steaming with jealousy and frustrated desire.
Sure beats it all sometimes in the melodrama, but it is also a play clear the stage characters who Winterson builds its modern winter’s tale on. Above all proves “Winter gap” that the 400-year-old Shakespeare still coats the 2000s.
Even Howard Jacobson choose to have their choice of a Shakespeare play, “The Merchant of Venice “unfold in a contemporary Britain, more precisely in the picturesque Cheshire.
But if Winterson is emotionally driven, so invite Howard Jacobson more in a Leading with novel construction that discusses contemporary jew identity.
in the center stands philanthropist Simon Strulovitch faced Jew Shylock in a cemetery. Thus parts Jacobson up Shakespeare’s Shylock in two roles, and that is their differing views on what Judaism may be in a secular society which constitutes the novel’s leitmotif. Yes, perhaps implicitly religion in general, which is a smart move. In the same way, Shylock’s daughter Strulovitchs, and change the name of the play Jessica Beatrice, which in true Dante Alighieri’s “The Divine Comedy”. Even the merchant (and later Beatrice marriage brokers) Antonio gets D’Anton, a Christian art dealers with anti-Semitic views, well hidden under the surface of the seemingly noble cultural identity.
When performance student and hipsterbruden Beatrice falls in love with a Pagan footballers will scroll the intrigue started, strongly encouraged by Portia as with Jacobson called the Pippi Long name “Anna Livia Plura Belle Cleopatra A Thing of Beauty is a Joy Forever Christine”. She is a plastic surgery soap star who suffers from spleen, runs a spa in the fashionable area of Golden Triangle and engaged in charity (read: our time mercies). Well then, this is also a nod to the play’s three box as suitors to choose from, but turned to the cars of varying status.
And what about the play’s central replica, “One pound of flesh”? Here is interpreted as castration anxiety in the football player must be circumcised if he is to get Beatrice. And failing that must be D’Anton fall for the knife, according to the adage that someone has to pay the debt that also is so central to the play.
Like “A Winter’s Tale” count “Merchant of Venice” to Shakespeare’s comedies, but with the emphasis of the tragicomic. Jacobson adds in its version into a sense of magical realism in the Russian writer Mikhail Bulgakov spirit. Shylock turned at times into a kind of Woland, Bulgakov’s Satan disguised form, here with hairy hands and eyes in a strange way shifts from deep brown to blue, which creates uncertainty in the reader: Who is he really? Jacobson will focus on the play’s urgent question of our perception of other religions and how people become what we read into them, rather than what they are ( “Has not a Jew eyes?”). So he also has several novels that just examines Jewish identity behind.
Overall, it’s a philosophical resonating chamber play also well take advantage of the play model in the discussion on the right religion and compassion are essential themes.
When compared between Winterson’s and Jacobson’s respective cover on either Shakespeare play, it is still Winterson’s strength that she managed to create a more stringent dramaturgy and real people of flesh and blood out of Shakespeare’s more angular characters destined for the stage, while Jacobson’s becoming more of caricatures. It will be interesting to see if they play covers in turn eventually become the subject of new scenadaptioner.
“the time gap” and “My name Shylock” is published by the Hogarth Press, which was founded by Virginia and Leonard Woolf. In the series The Hogarth Shakespeare Project reinterpreted the Bard’s works of contemporary writers – for them. two waiting Anne Tyler’s version of “The Taming of the Shrew” and Margaret Atwood’s “The Tempest”