Abstract
The Hungarian choreographer László Seregi created a ballet based on William Shakespeare’s The Taming of the Shrew in 1994. He and his musician colleagues used excerpts from eleven orchestral pieces by Carl Goldmark, cut and pasted together to fit perfectly the play as told through dance. I argue that although the ballet score does not convey the composer’s original intentions, its authenticity as a successful theatrical piece is unquestionable.
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