The Importance Of Fidelity To Original Adaptation

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a visual context. They create their own mind images out of roman’s world and characters, and it is interesting for them to compare their images with those dramatist has created. However, as Christian Metz put it, “the reader does not always find his/her own version of play or film on the stage or screen, since, in fact, he/she is watching imaginary world of another person”. Thus, it seems that dramatists insist to prepare the audience to encounter with someone else’s imagination; it is interesting that appropriating the places, characters, and ideas of roman into a play on the stage is performed by a single person – dramatist or stage director. This conversion can take different shape if it is done by a different person. But, fidelity to original …show more content…

It is possible that dramatist reconstructs the roman in his/her own work, or changes and intervenes it. Here, it should be noted another important issue: in adaptation process, word-by-word fidelity to the story fundamentally differs from fidelity to the story’s context and essence. Of course, discerning the boundary between these two versions of fidelity would be much more difficult if we go beyond the mere parallelism of the paly and roman, because when investigating an adapted work, it is the various types of reading that matters; from the way of reading a roman by a dramatist to its reading by a reader/viewer. Since a dramatist approach to roman is not usually consistent with that of audiences, the fidelity to the original source can be questioned. Here, a critic, when he/she faces with an adapted work, can argue: “this perception of the original text does not consist with …show more content…

Insistence on fidelity to the original source, has prevented the developing other approaches to the adaptation phenomenon. The mainstream line of thought tends to ignore adaptation as a way of encounter approaching the arts, and it looks over that, through adaptation, we can nurture a rich culture. However, where translating fiction to drama takes an intricate form, this way of thinking fails to provide a serious explanation. Awareness of this genuine view, perhaps, is more useful that a body of literature that argue dramas have played down the romans.
In contrast to traditional ways, the modern critical thinking has revealed more complicated structures beneath the adaptation skin. As Christopher Orr put it: “Within this critical context [i.e. of intertextuality], the issue is not whether the adapted film is faithful to its source, but rather how the choice of a specific source and how the approach to that source serve the film's

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