Summary Of The Six Degrees Of Separation

I will be studying the fight scene where Mercutio and Tybalt die, and comparing, the two film versions of the play, I will find differences and similarities as well as describing how each director / producer interprets and makes their version of the film. I will describe how eight different factors are present in each version of the film:

Williams presents the conflict between old and new in Scene Two in different ways, such as the manner in which Williams portrays the three characters Blanche, Stanley and Stella, as well the added tension through the structure of the scene, and finally in the stage directions. Through the use of these techniques, an atmosphere of tension is seen and felt by the audience, and the contrasts of the characters motifs are clearly highlighted.

Oliver Parker’s 1995 interpretation of Shakespeare’s 1600’s timeless classic Othello presents a differing construction of Othello from the original play, achieved through uses of a plethora of film devices. Both the play and the film masterfully spin a tale of romance, tragedy and death telling the fall of glory of Othello due to the acts of his ensign Iago, albeit with several differences in the presentation. Both Shakespeare and Parker explore themes of jealousy, power, and racism through the key characters of Othello and Iago. Parker utilises cutting, close-ups, mise-en-scene, music and a variety of others to bring his own in-depth dissection and construction of Othello.

The stories are profoundly different from start to finish but they deliver the same values of friendship, courage and trust but their illustration and delivery change throughout the movie and book, but did not make either one of the pieces less entertaining educational nor

The film takes a more elliptical, almost a poetical approach to the characters’ lives it shows on screen than the audience might have anticipated from a film of this sort. The whole aim for the editing of this film was to make the audience see the protagonists’ life from his point of view – they wanted the audience to be inside his head, seeing what he’s seeing, hearing what he’s hearing, etc.

Another comparison is that the descriptions of the characters in the play and the movie were both pretty similar. Because of this similarity the story line can again be the

A beautiful and poetic love story, where the story is told through beautiful Shakespearian dialogue but Luhrmann takes this challenge on and uses cinematic techniques to help make this Shakespearian dialogue understandable to modern audience, which has always been a great barrier. So setting, scene and the actor’s movements are vital to ensure the audience understands, as well as slow motion shots, low angle and close ups, this helps make the action and expressions speak louder than words in a world created by Luhrmann.

The setting for the play takes place in Alphabet City New York in the early 1990’s where diseases like AIDS and poverty for the community was at an all-time high. This tragic situation left some members of the community with no jobs, food, or homes to survive with. Some individuals through the play experienced different endeavors from dealing with finding themselves to learning how to excel at a film career. The struggles they faced in the city made for a good setting and situation to highlight the adversities people living in Alphabet City endured during that

The historical context is significant as it reveals information about the characters and the attitudes and values of the time. This relates to the readers through the humanity and reality that one experiences. Everyone experiences grief in a different way where Coral endures it: Vic telling her to put on a brave face as that’s what he was used to doing. The “Play within a play” is a technique within itself as it distances the audience from the highly emotional content of the play and allows them room to think about the issues and themes.

The given circumstances are; ‘the story of the play, its facts, events, epoch, time and place of action, conditions of life, the actors’’ and director’s interpretation; and lighting and sound

More often than not, the written narrative is highly privileged, causing individuals to not seek out other adaptations. One of the most complex tasks when adapting a film is staying ‘faithful.’ While many try to produce parallel adaptations to the written narrative, english film director and producer Alfred Hitchcock is not afraid of stray away from this, intertwining both suspense and thrill within his films. Hitchcock is known to take apart texts to their bare cardinal functions and then put them back together with a new story line. Hitchcock makes it clear that his adaptation of Herbert Brean’s article in Life Time Magazine “A Case of Identity” will not be similar to his previous adaptations. They will not be similar in the sense that this story is based off of a true story, and that every single thing that occurs during this film is true. He proceeds to state that even though it is true, it will be more suspenseful and thrilling than any of his previous films. Through this adaptation multiple key features were transferred whereas others were altered drastically to fit the style of film or were removed entirely from the script.

Adapting a written play into a live action film necessarily requires an interpretation of the original work to determine how it should be portrayed in the new medium. While there are no “wrong” interpretations, some take greater creative license where others more closely convey the original. Numerous factors affect this authenticity, but three of the most crucial are plot, characters, and overall spectacle. Evaluating these elements in Orson Welles’ 1952 and Janet Suzman’s 1988 adaptations of William Shakespeare’s tragedy Othello provides an analysis of the extent to which these two films resemble the original.

The significant differences in characteristics could have been purposefully embedded within the movie. Some instances where these differences play an important role is the actual mood of the movie. The director/producer keeps in mind the necessary components to keep a film entertaining. I believe the play’s mood would not have turned out well in a motion picture film and therefore some characteristics had to be changed to incorporate a different mood and tone. 3.

Michael Radford's version of Shakespeare’s The Merchant of Venice nearly surpasses it’s’ predecessor Trevor Nunn’s in every way because it was crafted with a much higher budget, It has elements that enforce the emotional impact of the story and successfully adapts and improves the text from Shakespeare’s vision. With the higher budget Michael Radford is able to make a more convincing and higher quality film by having, a more skilled and visually appealing cast, real sets and locations, and a much improved script. Missing from Trevor Nunn’s version of the text, Michael’s film contains, a variety of quality lighting, sound design, and skilled actors which greatly improves the emotional impact of his film. Michael was able to improve the source material over his predecessor by, making Shakespeare’s language more audible, taking more liberties with his story, and expanding on Shakespeare's original ideas and themes. Michael Radford’s film, using it’s higher budget, was able to implement many more emotional elements, while adapting and improving Shakespeare's Ideas.

Story structure plays an important role in the performing of texts because it sets the pace and keeps the storyline moving on-stage. A part of what makes a story structure is how the narrative is set up and executed, by looking at media theorists who have considered the conventional narrative structure in texts we consume we can see how they may impede and contribute to the outcome of staging a play. Mark Thomson’s rendition [] of Samuel Becket’s Waiting for Godot [], for example, can be observed to adhere to Todorov’s theory of Equilibrium []; when looking at the original text, the plot can be considered both parallel and cyclical in structure []. In this sense Todorov’s theory can be applied twofold, as it were, because the same series of events happens twice; both acts begin with the equilibrium of Vladimir and Estragon waiting for Godot, this is then disrupted by the entrance of Lucky and Pozzo and subsequently by the messenger boy’s arrival and departure, at this point and at the end of each act the two characters find themselves alone and in a new state of equilibrium. It is perhaps because of this repetition and almost meaningless