Transcultural Hamlet: representations of Ophelia and Gertrud in 21st-century Iran  

Oleh:

Jalayer, Robabeh ; Anushiravani, Alireza

Jenis: Article from Journal - ilmiah nasional - terakreditasi DIKTI
Dalam koleksi: K@ta [Kata]: a biannual publication on the study of language and literature (ada di ProQuest) vol. 19 no. 2 (Dec. 2017), page 55-62.
Topik: Transculturality; Hutcheon; Foucault; panoptic structure; surveillance
Fulltext: 19108-Article Text-23003-1-10-20180129.pdf (318.39KB)

Isi artikel

Multitudes of intermedial Shakespearean adaptations, especially since 1975, have captured Iranian theatrical stage, cinema or radio as the Bard’s texts are frequently modernized, transfigured and indigenized in order to add to his globalization. Hamlet works well in the mechanisms of temporality, spatiality, power, control and sexuality, socio-political discourses, economic upheaval, female self and gender struggles even in the twentieth and twenty-first centuries. Hence, Iranian directors such as Varuzh Karim-Masihi and Arash Dadgar as well as the British director Gregory Doran have re-interpreted this text based on new ideological grounds in which the characters are at times similar or different. In this article, the transformation and characterization of major characters, especially female ones such as Gertrud/Mah-Tal’at and Ophelia/Mahtab, are analyzed based on Hutcheon’s Adaptation Theory to see how they are represented in an Asian society whose Islamic ideology necessitates a unique transcultural, transhistorical rendition.

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