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“By Looking Liking”: Baz Luhrmann’S William Shakespeare’S Romeo+Juliet

100%
Cinpoeş N.
Messages, Sages and Ages
|
2016
|
vol. 3
|
issue 1
7-16
EN
Twenty years since its release onto the big screen, Baz Luhrmann’s William Shakespeare’s Romeo + Juliet continues to attract viewers, divide critics and remain unchallenged, in a league of its own, when it comes to film adaptation of Shakespeare’s plays. This article begins with taking stock of reception directions which still dispute the field of film adaptation. Cued by Worthen’s “Performance Paradigm”, my argument positions Luhrmann’s film (his second at the time and the one to propel the Australian director into Hollywood fame) firmly in the cinematic and sees the film narrative not as opposed to the textual and/or spoken one, but as a complex citational practice developed at the level of oral, visual and written discourse.
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Popular and Populist Shakespearean Transcreations in Central and Eastern Europe

45%
Cinpoeş N., Deres K., Fabiszak J., Földváry K., Schandl V.
Multicultural Shakespeare: Translation, Appropriation and Performance
|
2023
|
vol. 28
|
issue 43
69-88
EN
The article discusses the variety of ways in which the terms “popular” or “populist” could be associated with postwar Shakespearean transcreations in the Central and Eastern European region, pointing out how performers and adaptors challenged the canonical, highbrow status of Shakespeare and used his oeuvre as raw material in experimental forms and genres. Following a discussion on the variety of socio-historical contexts which inspired noteworthy popular and/or populist reworkings in several Central and Eastern European countries, the article takes a more in-depth look at a few specific comic genres, particularly the burlesque and the cabaret in a theoretical framework, and concludes by examining post-1989 experimental theatre practices.  
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