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Hybridity in John Wyver's Bbc Shakespeare

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Hybridity in John Wyver's Bbc Shakespeare TESIS DOCTORAL 2016-2017 HYBRIDITY IN JOHN WYVER’S BBC SHAKESPEARE FILMS: A STUDY OF GREGORY DORAN’S MACBETH (2001), HAMLET (2009) AND JULIUS CAESAR (2012) AND RUPERT GOOLD’S MACBETH (2010) Autor: Víctor Huertas Martín PROGRAMA DE DOCTORADO EN FILOLOGÍA. ESTUDIOS LINGÜÍSTICOS Y LITERARIOS: TEORÍA Y APLICACIONES DIRECTORA: MARTA CEREZO MORENO 1 ACKNOWLEDGEMENTS I wish to thank John Wyver, whose contribution to the development of TV theatre has been the main inspiration for this doctoral dissertation. His generosity has been outstanding for having granted me two interviews where many clarifications and useful answers were offered to carry out this research. My heartiest acknowledgements belong to Dr. Marta Cerezo Moreno for her great supervising task, enthusiasm, optimism and energy; for her rigor at correction together with all the methodological and theoretical suggestions she has been making over these last three years. My acknowledgements should be extended to the teachers at the English Studies Department and other Humanities Departments at the UNED. Over a series of seminars, I have had the chance to meet some of them and their advice and contributions have been highly beneficial for my work. Also, I need to thank my partner Olga Escobar Feito for her unconditional support, for her kind words, her frequent smiles and her infinite patience over three years of coexistence with a frequently absent-minded PhD student buried in books and paper. It only remains to dedicate this work to my family, friends, colleagues and students. February 17, 2017 2 Table of Contents 0. INTRODUCTION .............................................................................................................7 0.1. Research Statement ........................................................................................................... 8 0.2. Dissertation Objectives .................................................................................................... 13 0.3. Dissertation Overview ...................................................................................................... 14 1. STATE OF THE ART ...................................................................................................18 1.1. Theatre on the Small Screen ............................................................................................ 19 1.2. Definition of hybridity ...................................................................................................... 34 1.2.1. Hybridity in British Television: Principles of Collision ............................................... 34 1.2.2. Existing Definitions of Hybridity ............................................................................... 35 1.2.3. Basic Components of Hybridity ................................................................................ 38 1.2.4. Hybrid Television Shakespeare Film: Centrifugal Movements ................................. 42 2. JOHN WYVER AND ILLUMINATIONS MEDIA ............................................................45 2.1. John Wyver: Early Life and Career ............................................................................. 46 2.2. Illuminations Media ......................................................................................................... 47 2.3. John Wyver and Academia ............................................................................................... 48 2.4. Directors Collaborating with Wyver ................................................................................. 50 2.4.1. Gregory Doran .......................................................................................................... 50 2.4.2. Rupert Goold ............................................................................................................ 51 2.5. General Features of Hybrid Television Shakespeare Film................................................ 53 2.6. Wyver’s Theatre Works on the Screen ............................................................................ 56 2.6.1. Deborah Warner: The Waste Land (1995) ................................................................ 56 2.6.2. Deborah Warner: Richard II (1997) .......................................................................... 56 2.6.3. Phyllipa Lloyd: Gloriana, A Film (2000) ..................................................................... 59 2.6.4. Collaboration with Gregory Doran ........................................................................... 61 2.6.5. Collaboration with Rupert Goold .............................................................................. 62 2.6.6. RSC Live Cinema ........................................................................................................ 63 2.7. Summary .......................................................................................................................... 66 3. THEORETICAL FRAMEWORK ........................................................................................69 3.1. Modes of Filming Shakespeare on Screen ....................................................................... 72 3.2. Reception Theory ............................................................................................................ 78 3.2.1. General Considerations ............................................................................................ 78 3.2.2. Audience Reception .................................................................................................. 81 3.3. Intertextuality .................................................................................................................. 84 3.3.1. Rationale ................................................................................................................... 84 3.3.2. Michael Bakhtin ........................................................................................................ 85 3.3.3. Julia Kristeva ............................................................................................................. 86 3.3.4. Roland Barthes.......................................................................................................... 88 3.3.5. Gérard Genette ......................................................................................................... 89 3.3.6. Film and Television Studies: Genericity .................................................................... 90 3.4. Popular Culture ................................................................................................................ 96 3.4.1. General Considerations on Popular Culture ............................................................. 97 3 3.4.2. Illuminations Media, BBC, Shakespeare and Popular Culture ................................ 100 3.4.3. Popular Culture: Rupert Goold and Gregory Doran ............................................... 104 3.4.4. Relevance of Convergence Culture......................................................................... 106 3.5. Summary ........................................................................................................................ 107 4. A CINÉMA VÉRITÉ PIECE. GREGORY DORAN’S MACBETH (2001) ............................. 111 4.1. Introduction ................................................................................................................... 112 4.2. Theoretical Framework .................................................................................................. 115 4.3. From The Swan Theatre to the London Roundhouse .................................................... 120 4.4. Simulating a War Zone ................................................................................................... 123 4.5. Return to the Theatrical Mode and Vérité Intrusions.................................................... 127 4.6. Close-Ups, Voice-overs, Film and Another’s Speech ..................................................... 128 4.7. A Further Level of Disintegration ................................................................................... 132 4.8. Simulacrum and Kingship ............................................................................................... 134 4.9. Radical Plurality of Texts ................................................................................................ 138 4.10. Conclusions .................................................................................................................. 143 5. THEATRICAL SELF-REFLEXIVITY IN DORAN’S HAMLET (2009) .................................. 146 5.1. Introduction ................................................................................................................... 147 5.2. Theoretical Framework .................................................................................................. 149 5.3. From Stage to Film ......................................................................................................... 151 5.4. The Patriarchal Order and the Dramatic Energizing of Frustration ............................... 153 5.5. Hamlet’s Encounter with the Actor’s Block ................................................................... 157 5.6. Uncomfortable Truths .................................................................................................... 160 5.7. The Closet Scene ............................................................................................................ 163 5.8. The Broken Mirror and the Theatrical Dislocation of the State
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