Abstract
This research paper examines the experimental nature of appropriation focusing on The National Academy of Performing Arts (NAPA) renditions of Shakespeare’s Hamlet (1603) and Richard III (1597). It investigates how these adaptations bring about changes in both dramatic structure and artistic expression, dissecting visual and performative elements to uncover diverse meanings within live performances. The research delves into how NAPA’s creative choices offer new ways to examine Shakespeare’s universal themes—jealousy, incest, ambition, and hatred— through unconventional theatrical presentations, viewed from a post-dramatic perspective. Using Hans Thies Lehmann’s Post-dramatic theory (1960), it analyses alterations dramaturgical and aesthetical presentation such as plot construction, sign and symbol presentations. By bridging the gap between the art world and stagecraft, this study aims to deepen our understanding of how appropriation, aesthetics, and performance intersect. It also explores how these adaptations contribute to the global presentation of Shakespearean plays, offering insights from Pakistan’s theatrical landscape.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callMore From: Multicultural Shakespeare: Translation, Appropriation and Performance
Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
