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A Study of Shakespeare Contribution in Hindi Cinema
International Journal of Science and Research (IJSR) ISSN (Online): 2319-7064 Index Copernicus Value (2016): 79.57 | Impact Factor (2015): 6.391 A Study of Shakespeare Contribution in Hindi Cinema Asma Qureshi Abstract: In India, Cinema not only a name of entertainment, but also educate to millions of people every day. Friday is celebrated by screening of new films. Indians happily participate in Cinema culture of the Country. Shakespearean tragedies have been a never ending source of inspiration for all filmmakers across the world. Many Hindi films based on Shakespeare novel like Shahid, Omkara, Goliyo ki raasleela Ramleela etc. William Shakespeare in India has been an exceptional and ground-breaking venture. The literary collection of Shakespeare is dynamic and an unlimited source of inspiration for countless people across the globe. When Shakespeare’s writing is adapted in cinema, it sets it ablaze, and transfers the audience to a cinematic paradise. Indian adaptation of both Shakespearean tragedy and comedy can be comprehended as an Combination of ‘videsi’ and ‘desi’, a synthesis of East and West, and an Oriental and Occidental cultural exchange. Shakespeare’s, “bisexual‟ mind, the complexity of his Narrative, music, story-telling, and creative sensibility categorizes him as an ace literary craftsman. This Research is an attempt to understand the contribution of Shakespeare novel in Hindi cinema. So that we can easily understand the main theme of the story. What writer wants to share with us. We can easily understand main theme of novel. 1. Introduction European library worth the whole native literature of India and Arabia‖. It also has a lot to do with profound resonances Indian Hindi language film industry is also known as Hindi between Shakespeare‘s craft and Indian cultural forms that cinema which is situated or we can say mainly operated converge on one concept: masala. -
Shakespeare in America Performance, Scholarship, and Teaching
SHAKESPEARE IN AMERICA PERFORMANCE, SCHOLARSHIP, AND TEACHING Michael MULLIN Univcrsity of lllinois Shakcspeare. One namc with instant recognition in our world today, Shakespeare may be as close as we can come to a cultural universal in this multi-cthnic, polyglot, global village. My thesis for today is a simple one: If one is to study and teach English or American literature, one must know Shakespeare because Shakespeare has been and continues to be cen tral to Engtish-language culture and education in North America. First Jet us review sorne facts, which I have sct down in the handouts. The breadth and depth of Shakespearean activity in America is simply staggering. l. Performance Theatre More than 38 Shakespeare festivals playing during the summer months bring live Shakespeare to audiences easily numbering 1 million annually. Throughout the year Broadway and many community and university thea tres continue to find Shakespeare a boxoffice bonanza. Television The BBC Shakespeare on Television 1980-87 drew audiences estimatcd at 3-5% of the American viewing audience, or something likc 10 million people for an average broadcast. Commercial television and film makers continue to invest in new Shakespeare productions, thc most recent being the acclaimed Henry V starring Kenneth Branagh. 49 2. Scholarship Publications Shakespeare Quarterly, Shakespeare Studies, and The Shakespeare Newsletter -to name only the three best known of severa! American publi cations- have paid circulations of 2,000 to 3,500. Each year two dozen or more books on various aspects of Shakespeare and Shakespeare criticism are published in the United States. Professional societies The Shakespeare Association of America draws 500 scholars to its annual meetings; its membership includes twice that number. -
Program from the Production
STC Board of Trustees Board of Trustees Stephen A. Hopkins Emeritus Trustees Michael R. Klein, Chair Lawrence A. Hough R. Robert Linowes*, Robert E. Falb, Vice Chair W. Mike House Founding Chairman John Hill, Treasurer Jerry J. Jasinowski James B. Adler Pauline Schneider, Secretary Norman D. Jemal Heidi L. Berry* Michael Kahn, Artistic Director Scott Kaufmann David A. Brody* Kevin Kolevar Melvin S. Cohen* Trustees Abbe D. Lowell Ralph P. Davidson Nicholas W. Allard Bernard F. McKay James F. Fitzpatrick Ashley M. Allen Eleanor Merrill Dr. Sidney Harman* Stephen E. Allis Melissa A. Moss Lady Manning Anita M. Antenucci Robert S. Osborne Kathleen Matthews Jeffrey D. Bauman Stephen M. Ryan William F. McSweeny Afsaneh Beschloss K. Stuart Shea V. Sue Molina William C. Bodie George P. Stamas Walter Pincus Landon Butler Lady Westmacott Eden Rafshoon Dr. Paul Carter Rob Wilder Emily Malino Scheuer* Chelsea Clinton Suzanne S. Youngkin Lady Sheinwald Dr. Mark Epstein Mrs. Louis Sullivan Andrew C. Florance Ex-Officio Daniel W. Toohey Dr. Natwar Gandhi Chris Jennings, Sarah Valente Miles Gilburne Managing Director Lady Wright Barbara Harman John R. Hauge * Deceased 3 Dear Friend, Table of Contents I am often asked to choose my favorite Shakespeare play, and Henry IV, Parts 1 and 2 Title Page 5 it is very easy for me to answer immediately Henry IV, Parts 1 The Play of History and 2. In my opinion, there is by Drew Lichtenberg 6 no other play in the English Synopsis: Henry IV, Part 1 9 language which so completely captures the complexity and Synopsis: Henry IV, Part 2 10 diversity of an entire world. -
Macbeth on Three Levels Wrap Around a Deep Thrust Stage—With Only Nine Rows Dramatis Personae 14 Separating the Farthest Seat from the Stage
Weird Sister, rendering by Mieka Van Der Ploeg, 2019 Table of Contents Barbara Gaines Preface 1 Artistic Director Art That Lives 2 Carl and Marilynn Thoma Bard’s Bio 3 Endowed Chair The First Folio 3 Shakespeare’s England 5 Criss Henderson The English Renaissance Theater 6 Executive Director Courtyard-Style Theater 7 Chicago Shakespeare Theater is Chicago’s professional theater A Brief History of Touring Shakespeare 9 Timeline 12 dedicated to the works of William Shakespeare. Founded as Shakespeare Repertory in 1986, the company moved to its seven-story home on Navy Pier in 1999. In its Elizabethan-style Courtyard Theater, 500 seats Shakespeare's Macbeth on three levels wrap around a deep thrust stage—with only nine rows Dramatis Personae 14 separating the farthest seat from the stage. Chicago Shakespeare also The Story 15 features a flexible 180-seat black box studio theater, a Teacher Resource Act by Act Synopsis 15 Center, and a Shakespeare specialty bookstall. In 2017, a new, innovative S omething Borrowed, Something New: performance venue, The Yard at Chicago Shakespeare, expanded CST's Shakespeare’s Sources 18 campus to include three theaters. The year-round, flexible venue can 1606 and All That 19 be configured in a variety of shapes and sizes with audience capacities Shakespeare, Tragedy, and Us 21 ranging from 150 to 850, defining the audience-artist relationship to best serve each production. Now in its thirty-second season, the Theater has Scholars' Perspectives produced nearly the entire Shakespeare canon: All’s Well That Ends -
Koel Chatterjee Phd Thesis
Bollywood Shakespeares from Gulzar to Bhardwaj: Adapting, Assimilating and Culturalizing the Bard Koel Chatterjee PhD Thesis 10 October, 2017 I, Koel Chatterjee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 10th October, 2017 Acknowledgements This thesis would not have been possible without the patience and guidance of my supervisor Dr Deana Rankin. Without her ability to keep me focused despite my never-ending projects and her continuous support during my many illnesses throughout these last five years, this thesis would still be a work in progress. I would also like to thank Dr. Ewan Fernie who inspired me to work on Shakespeare and Bollywood during my MA at Royal Holloway and Dr. Christie Carson who encouraged me to pursue a PhD after six years of being away from academia, as well as Poonam Trivedi, whose work on Filmi Shakespeares inspired my research. I thank Dr. Varsha Panjwani for mentoring me through the last three years, for the words of encouragement and support every time I doubted myself, and for the stimulating discussions that helped shape this thesis. Last but not the least, I thank my family: my grandfather Dr Somesh Chandra Bhattacharya, who made it possible for me to follow my dreams; my mother Manasi Chatterjee, who taught me to work harder when the going got tough; my sister, Payel Chatterjee, for forcing me to watch countless terrible Bollywood films; and my father, Bidyut Behari Chatterjee, whose impromptu recitations of Shakespeare to underline a thought or an emotion have led me inevitably to becoming a Shakespeare scholar. -
Shakespeare on Film, Video & Stage
William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994. -
Macbeth in World Cinema: Selected Film and Tv Adaptations
International Journal of English and Literature (IJEL) ISSN 2249-6912 Vol. 3, Issue 1, Mar 2013, 179-188 © TJPRC Pvt. Ltd. MACBETH IN WORLD CINEMA: SELECTED FILM AND TV ADAPTATIONS RITU MOHAN 1 & MAHESH KUMAR ARORA 2 1Ph.D. Scholar, Department of Management and Humanities, Sant Longowal Institute of Engineering and Technology, Longowal, Punjab, India 2Associate Professor, Department of Management and Humanities, Sant Longowal Institute of Engineering and Technology, Longowal, Punjab, India ABSTRACT In the rich history of Shakespearean translation/transcreation/appropriation in world, Macbeth occupies an important place. Macbeth has found a long and productive life on Celluloid. The themes of this Bard’s play work in almost any genre, in any decade of any generation, and will continue to find their home on stage, in film, literature, and beyond. Macbeth can well be said to be one of Shakespeare’s most performed play and has enchanted theatre personalities and film makers. Much like other Shakespearean works, it holds within itself the most valuable quality of timelessness and volatility because of which the play can be reproduced in any regional background and also in any period of time. More than the localization of plot and character, it is in the cinematic visualization of Shakespeare’s imagery that a creative coalescence of the Shakespearean, along with the ‘local’ occurs. The present paper seeks to offer some notable (it is too difficult to document and discuss all) adaptations of Macbeth . The focus would be to provide introductory information- name of the film, country, language, year of release, the director, star-cast and the critical reception of the adaptation among audiences. -
The American Century Theater Presents Voodoo Macbeth Written by William Shakespeare and Adapted by Orson Welles Directed by Kathleen Akerley
Theater you can afford to see— plays you can’t afford to miss! NEWS for immediate release February 2013 Contact Emily Morrison, 703-998-4555 (TACT office), 323-363-4404 (c) E-mail [email protected] And [email protected] Press photos Http://www.AmericAncentury.org/pHotos/voodoo/ The American Century Theater presents Voodoo Macbeth Written by WilliAm SHAkespeAre And Adapted by Orson Welles Directed by KAtHleen Akerley The AmericAn Century THeater will present Orson Welles’ AdAptAtion of SHAkespeare’s Macbeth, tHe sensationAl Voodoo Macbeth, MarcH 22 – April 13 at Gunston THeAtre II in Arlington. The FederAl TheAtre Project’s production of Voodoo Macbeth in 1936 is legendAry for its cast of AfricAn-AmericAn Actors. A mArginAlized group Heretofore seen in primArily dancing And singing roles, tHe plAy cHAllenged Audiences to Acknowledge And AppreciAte tHeir cleAr tAlent And Ability. Set in Haiti, Shakespeare’s tHemes of witcHcraft and the occult were replAced by the islAnd’s prActices of voodoo. Evoking Orson Welles’ reimAgining of Macbeth creAted a unique cHAllenge for THe AmericAn Century TheAter, which HAs mounted versions of Welles’ iconic stAge productions throughout its seventeen-year History witH notable success. No fewer tHan five TACT productions Have been inspired by Welles’ concepts And direction, including tHe Helen HAyes nominAted Moby Dick Rehearsed and tHe agitprop lAbor musicAl, The Cradle Will Rock. Artistic Director Jack MArsHAll explAins: “Unlike tHe otHer Welles shows, Voodoo Macbeth cAnnot be true to his vision if we stick closely to his stAging and casting ideas. Welles believed tHAt tHeAter sHould be exciting, surprising, And original. -
Adaptation of Shakespeare's Plays Into Films: the Dark Side
European Journal of English Language and Literature Studies Vol. 4, Issue 7, pp. 35-39, November 201 Published by European Centre for Research Training and Development UK (www.eajournals.org) ADAPTATION OF SHAKESPEARE'S PLAYS INTO FILMS: THE DARK SIDE Azeez Jasim Mohammed Assistant Professor, Department of English Language and Literature, Jerash University, Jerash 26150, Jordan ABSTRACT: To what extent our innermost feelings can be revealed through our works? The unbearable face of human being cannot be hidden and what a director shot in a film may reveal the real sense of what is hidden from our eyes. Thus directors sometimes try to hide their dark side behind such interesting movies after having modified the events of the original text to achieve their end. This paper, however, is an overview about the technique of adaptation which varies from one adaptationist to another depending on the historical background of the screenplay writer. Although the director succeeds to project what is on one side of his curtain, he fails to hide what is on the other side that discloses his innermost feelings KEYWORDS: Dark side, Shakespeare, adaptation, Vishal Bhardwaj, Sadism, Masochism INTRODUCTION In this paper, I start from where I ended my last essay on media and literature which presented the relationship between the content of a literary work and its modified version after adaptation into films. The core of which was the role of the mass media which consisted of various layers of meaning superimposed on one another. I enhanced the study with two specific instances those served as illustrations; 'Best Defense', a Hollywood movie based on Robert Grossbach’s novel Easy and Hard Ways Out (1974) and 'World War Z'; another Hollywood movie based on the New York Times bestseller and an apocalyptic horror novel World War Z: An Oral History of the Zombie War (2006) by Max Brooks. -
Adaptation of Shakespeare in Recent Bollywood Movies Dr
Adaptation of Shakespeare in Recent Bollywood Movies Dr. Charu C Mishra Assoc. Prof. (English) KG Arts & Science College Raigarh, Chhatisgarh India Abstract Thanks to our drama professor who initiated us to the sheer joy of reading the high flown language and acting in Shakespeare‟s plays that eventually left us spellbound for life. Watching Shakespeare‟s plays in theatre for the yester year English educated Indians has been a hobby. This infatuation with the greatest dramatist has led some Film directors to experiment on the themes of comedies and tragedies. In recent years, director Vishal Bhardwaj holds the credit of adapting themes of his great tragedies to contemporary situation and work wonder through his experimentation. Maqbool is a 2003 Indian crime drama, an adaptation of the play Macbeth. The film had its North American premiere at the 2003 Toronto International Film Festival and was screened in the Marché du Film section of the 2004 Cannes Film Festival. Bhardwaj then moved on to adapt Othello in his 2006 film Omkara which won him commercial as well as critical success and Francis Ford Coppola's attention. Haider is the third installment of Bhardwaj's Shakespearean trilogy. The film is a modern-day adaptation of William Shakespeare's tragedy Hamlet, set amidst the insurgency-hit Kashmir during conflicts of 1995 and civilian disappearances. The film was screened at the 19th Busan International Film Festival and released worldwide on 2 October 2014 to wide critical acclaim, and garnered attention from the media due to its controversial subject matter. The present paper intends to study how the movies inspired by Shakespeare still appeal 21st century audience to concur his universality in changing times. -
What If Lady Macbeth Were Pregnant?: Amativeness, Procreation, and Future Dynasty in Maqbool
Asian Shakespeares on Screen: Two Films in Perspective, special issue, edited by Alexa Huang, Borrowers and Lenders 4.2 (Spring/Summer 2009). What If Lady Macbeth Were Pregnant?: Amativeness, Procreation, and Future Dynasty in Maqbool William C. Ferleman, Oklahoma State University Abstract In Maqbool, Vishal Bhardwaj's unusually perceptive rewriting of Macbeth, an emphasis on Macbeth's future dynasty is rather conspicuously developed and reinforced (Trivedi 2007, 153). Murder and betrayal are not of much consequence in the modern Mumbai criminal underworld; these acts are quite simply part of the Mafia trade, and Macbeth/Maqbool is from the start an ignoble, cold-blooded murderer. It is love (or rather, sexual desire) and not treacherous murder that is the predominant transgression in Maqbool. The transgressive love affair between Macbeth/Maqbool and Lady Macbeth/ Nimmi (including Nimmi's scandalous pregnancy) is developed as a key motif in the film. Maqbool seeks to combat the policemen's prophecy that Kaka's (Banquo's) children will attain political rule in the future. Maqbool fights for his own future dynasty and is not seriously concerned about his personal political rule within the Mumbai gang. The film concerns forbidden sexuality, procreation, and Maqbool's desperate but determined hope for a future dynasty. Freud claimed that in Shakespeare's Macbeth, Macbeth is not grossly concerned about his personal political ambition; Macbeth is perhaps primarily preoccupied with his future dynasty. "Macbeth is incensed by this decree of destiny," Freud writes. "He is not content with the satisfaction of his own ambition, he desires to found a dynasty and not to have murdered for the benefit of strangers" (Freud 1991, 32). -
A Successful Cinematic Adaptation of William Shakespeare’S Play Macbeth in Vishal Bhardwaj’S Hindi Movie Maqbool
INTERNATIONAL JOURNAL OF ENGLISH LANGUAGE, LITERATURE AND TRANSLATION STUDIES (IJELR) A QUARTERLY, INDEXED, REFEREED AND PEER REVIEWED OPEN ACCESS INTERNATIONAL JOURNAL http://www.ijelr.in (Impact Factor : 5.9745 (ICI) KY PUBLICATIONS RESEARCH ARTICLE ARTICLE Vol. 5. Issue.3. 2018 (July-Sept) A SUCCESSFUL CINEMATIC ADAPTATION OF WILLIAM SHAKESPEARE’S PLAY MACBETH IN VISHAL BHARDWAJ’S HINDI MOVIE MAQBOOL VINOD KUMAR Ph.D. Research Scholar Department of English, Chaudhary Devi Lal University, Sirsa, Haryana Email:[email protected] ABSTRACT Shakespeare and his plays have greatly influenced to the modern filmmakers and content creators. These plays produced an atmosphere of tension, love, tragedy, action, and romance and all of these themes are prevalent in today's media. Shakespeare movies are so numerous; they form their own sub-genre. So there is a series of his plays which are adapted in the modern cinema. This paper also aims at the cinematic adaptation of Macbeth. Adaptation means to get some cultural and another elements which is borrowed from one group to another. Shakespeare was a VINOD KUMAR dominant writer in the world. He was not of one age but of all ages. He can be judged as an era in English literature. His plays have been influencing all the film industries for a long time. Macbeth is one of the ideal examples of Shakespeare’s classical tales which have great influence on masses belong to any age. Keywords: Adaptation, Film Industry, Macbeth, Maqbool, Shakespeare. Indian film industry, especially the Bombay Film Industry or better known as Bollywood is the largest film industry as per the total number of films made by it in a single year (McCarthy, 2014) [2].