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Twelfth night as a Shakespeare comedy
Twelfth night as a Shakespeare comedy
Twelfth night as a Shakespeare comedy
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Film Versions of Shakespeare Comedies
Shakespearean plays are complex, intricate pieces of work in which a diverse range of interpretations and readings can be made. This is particularly true of his comedies, where the light-hearted humour is often offset by darker, more serious undertones. In adapting these comedies it is for the director – in the cinematic context – to decide how to interpret the play and which elements are privileged and which are suppressed. This variance in interpretation is exemplified in comparing two of the more recent cinematic adaptations of Shakespeare’s comedies, Trevor Nunn’s Twelfth Night and Kenneth Branagh’s A Much Ado About Nothing [‘Much Ado’]. Although both films can to an extent be seen as comedies with serious, almost tragic aspects inherent throughout, Nunn’s film deals with these serious facets as central to the depiction, whereas Branagh, although not entirely ignoring the deeper issues, prefers a more light-hearted and visually attractive adaptation.
Twelfth Night has been described as ‘like Hamlet in a comic vein’ . In terms of Shakespearean chronology, the bittersweet edge to the play and the fact that it is essentially a comedy with the dark, sometimes disturbing elements, has been linked with the playwright’s movement toward the genre of tragedy. The range of filmic adaptations of the play illustrates the variation in the interpretation of Shakespeare’s work, with the dark edge often failing to make the transition to screen. However this is not the case with Nunn’s Twelfth Night, which achieves this exploration of the serious essentially through his interpretation of some of the play’s principal characters including Malvolio, Feste and Maria.
Malvolio's character is significant to Nunn’s adaptation in many respects with it initially appearing that Malvolio brings an air of respectability and chastity to the film. However his essential flaws and his inability to recognise the reality of people's feelings, including Olivia's, remove him from the position of moral overseer to a simple player in the game of love. Malvolio's error is related to his self-perceptions and his consideration of his own self-importance, rather than his caring and compassion for his mistress Olivia. Malvolio’s function in this film is to serve as a comedic contrast to the merry-makers, as well as a vital reminder to Feste t...
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... provides glimpses of these issues, yet valorises a light-hearted, aesthetic approach to the text as a whole.
Works Cited:
Brode Douglas. Shakespeare in the Movies: From the Silent Era to Shakespeare in Love. Oxford University Press, 2000, pp. 97-99.
Cartmell, B. Interpreting Shakespeare on Screen. (2000).
Cuppit, C. “Double Trouble: A Discussion of Trevor Nunn’s film adaptation of Twelfth Night.”
Fine Line Features. Twelfth Night. Home Page. 2003
http://www.finelinefeatures.com/twelfth/ Accessed 28/5/03
Fine Line Features. “Trevor Nunn – Director.” About the Filmmakers. 2003
http://www.finelinefeatures.com/twelfth/filmbios.htm
Greif, K “Plays ad Playing in Twelfth Night”, in Modern Critical Interpretations: William Shakespeare’s Twelfth Night, ed. Harold Bloom. New York: Chelsea House Publishers, (1987).
Marshall, K. “How do you solve a problem like Maria?: A Problematic (re)interpretation of Maria in Trevor Nunn’s Twelfth Night.” Literature-Film Quarterly 30, no. 3 (2002): p. 219.
Richard, R. “Much Ado About Branagh”. Commentary 96(4) (1993)
Sheppard, P. “Intercutting in Trevor Nunn’s Twelfth Night”. Literature Film Quarterly 30, No. 3 (2002)
The Fulfillment of the Definition of Gothic Horror by Chapters 5 and 4 of Mary Shelley's Frankenstein
Using gothic conventions Frankenstein explores Mary Shelley’s personal views on the scientific developments, moral and economical issues that occurred during the 19th century and Shelley’s personal emotions and questions regarding her life. As an educated person, Mary Shelley had an interest in the development of the world such as political and moral issues and she challenged these issues in the novel.
Warren, Roger. Shakespeare Survey 30. N.p.: n.p., 1977. Pp. 177-78. Rpt. in Shakespeare in the Theatre: An Anthology of Criticism. Stanley Wells, ed. England: Oxford University Press, 2000.
Much Ado About Nothing and Twelfth Night are two of Shakespeare’s most successful comedies. Some may say that the two poems are like day and night, much different from one another. But it will be proven to you that they are very similar. Shakespeare incorporates many of the strong elements of Much Ado About Nothing into Twelfth Night and vice-versa. The characters also share common traits across both plays. The settings have a slight utopian feeling, as both worlds are based on Italy. Even the plots have big similarities as they are both based on love, power, wealth and marriage.
Shakespeare, William. Twelfth Night, Or, What You Will. Ed. Keir Elam. London: Arden Shakespeare, 2008. Print.
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William, Shakespeare Twelfth Night. The Norton Anthology of English Literature, Volume B. Ed. Stephen Greenblatt. New York: W. W. Norton & Co., 2006. 1079-1139.
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Typically Shakespearean comedy mirrors the Early Stuart veneer of instruction, thereby “work[ing] through [the performance] to its own logical end,” (Frye, 1957) which, by distinction, must necessitate Frye’s New World. Twelfth Night strongly employs a similar cyclical structure that defines an insincere conclusion, levered to impose contemporary social hierarchy. By proliferating Aristotle’s, “great chain of being,” the bard shackles his conception of Twelfth Night – and crucially the characters involved- to the very same distribution - dictating a predetermined resolution. Arguably Shakespeare’s subtle hints of injustice lead to the faint realisation of social disability that defines 16th century Britain; undermining the completeness of
One of the most important aspects of any Gothic novel is setting. Mary Shelly's Frankenstein is an innovative and disturbing work that weaves a tale of passion, misery, dread, and remorse. Some would argue that Frankenstein is a classic Gothic novel. By a classically Gothic novel it is meant that the story employs a traditionally scary theme. This could include such things as dark and dreary castles set in isolated surroundings replete with dungeons. Supernatural beings such as ghosts and living dead may be included in the twisted, thrilling, unveiling tale. The novel does contain many Gothic characteristics in a sense that it does explore the uses of dark dreary basements, where the monstrous creature is made. Frankenstein is not set in a dull and dreary basement but you could say that where Frankenstein worked on his creation to be a gloomy dreary room. There is a struggle between good and evil throughout the story, an example of this is seen in Victor Frankenstein and his monster. We also get a lot of suspense around the person who is next to be murdered or die. An example of this is before Elizabeth dies when Victor Frankenstein is anticipating his own death.
William, Shakespeare Twelfth Night. The Norton Anthology of English Literature, Volume B. Ed. Stephen Greenblatt. New York: W. W. Norton & Co., 2006. 1079-1139.
Trevor Nunn’s (1996) adaptation of Twelfth Night illustrates the complexity of Feste’s character and how important he is to the overall play. Ben Kingsley, the actor, presents Feste as sympathetic and gentle choric figure. It is Feste who allows the audience to see the films respect for the original play, and the existing issues within it. This includes the defencelessness of women, and the attractive, but dangerous, qualities of altering one’s true sexual identity. Interestingly, unlike the original script, Nunn opens his first scene with Feste observing Viola struggle to shore after the shipwreck she has experienced. In this context, Kingsley’s Feste is revealed for the first time. He is shown as a mysterious and isolated individual, who stands afar, waiting and observing, high up among the towering cliffs. He only chuckles and hums a tune, as he silently watches Viola mourn. He holds no facial expression, neither teary nor auspicious and his physical appearance does not represent a common Jester in Elizabethan times. In view of Feste’s silent observation of Viola, one is able to speculate some sort of connection between the two characters. Given that he is a compassionate man, he is not taken aback by what the world has evolved to nor does he accept its change. He shows interest in the obstacles Viola faces as a woman stranded on unfamiliar soil, and wonders about her ability to remain strong after witnessing the brutal loss of her brother. However, what seems to captivate his attention is her ability to maintain the role of a man in a country at war. The true question running through his mind is can she do it? It is through this that one is able to see Feste’s knowledge of women’s ability to achieve higher than their limited p...
Since the early 1990’s, “Queer Theory”, or queer study, has emerged and become very common in influential readings throughout literature. Many scholars apply this poststructuralist theory when criticizing works within the Renaissance period, including the works of William Shakespeare. Twelfth Night continues to be a commonly reviewed work when discussing the recurring homoerotic themes throughout Shakespeare’s works. Though Twelfth Night is often used for the discussion of homosexual interaction in Shakespeare, the conclusions drawn from these possible same-sex attractions are still divided and unclear. Regardless of this division, there is a large amount of substance that supports the unquestionably present homosexual relations in the play.
Seeing as Malvolio the puritan is a killjoy figure, Feste, Sir Toby, Sir Andrew and Maria constantly mock and terrorise him. And as they don’t take a liking to him, Malvolio goes through situations where he is ridiculed because of who he is, the status he has (being a steward in Olivia’s household), the background he is from and the fact that he is a person of ill will, suggested by his name (Italian for I wish you bad).
Mistaken identity and disguise are important aspects of comedy in Twelfth Night that stand at the forefront of the play’s comedy. Not only are mistaken identities and disguise evident within the main plot of the play but also in various other situations. Sexual confusion amongst characters, subversion of gender roles and farcical elements through stagecraft all effectively contribute to the dramatic comedy genre. However, it can be suggested that certain elements of Twelfth Night are not interpreted to be purely comedic; Shakespeare has incorporated serious and controversial subjects such as the idea of genuine love, the patriarchy of the time and the cruel gulling of Malvolio. Therefore, disguise and mistaken identity are not solely for the purpose of comedy and it could be inferred that it even borders on the genre of tragedy.