Hutcheon’s ideas about adaptation make an interesting read.
I was particularly interested in her talk about context, and the way in which
adaptations change to appeal to the new culture of the day. She says “An
adaption, like the work it adapts, is always framed in context. . .” Hutcheon
is making the point that all works of art reflect the artist’s cultural background,
and their opinions of it in some way. Adaptions of these works will likewise
reflect the culture of the time period in which they are adapted. Adapters must
‘update’ “. . . the time of the story in an attempt to find contemporary
resonance with their audience”. This is
always a challenge and a dangerous matter, a walk on the tight rope between preserving
the heart of the original, and presenting a story with meaning for the current
audience.
This was very interesting in light of our recent viewing of
the film adaptation of Macbeth. The film was not set in the Scotland of
Shakespeare’s time like the original. Goold’s Scotland is the modern Scotland,
and the wars and struggles of the story are significantly more modern wars. Goold references World War Two with video
clips, and costumes reminiscent of that time. Macbeth’s similarities to Stalin
in Good’s adaption also allude to that era. Goold combines this with more
modern weaponry and military uniforms. Together these elements make this
adaption very powerful to its audience in 2010 (and still today). It was made
in an era that is fascinated with World War Two, angry with tyrants and a time
when troubles in the Middle East have made the whole world scared of war. These
elements turn Goold’s film adaption of Macbeth into a powerful statement on war
and tyrants that hits home with a modern audience.
Hutcheon’s ideas on adaption prove to be very true for Goold’s
Macbeth.
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