Abstract
This paper presents a reading of the political trilogy House of Cards, To Play the King e The Final Cut, by Michael Dobbs, an English writer; and their adaptation by the BBC and Netflix series. I try to demonstrate how novelists, script writers and directors of series celebrate the unparalleled art of Shakespeare by reworking themes, updating contexts and rebuilding personality traits of his unforgettable characters. In short, this text aims to analyze the series and to recover some of the genetic characteristics of Shakespeare’s plays in contemporary artistic/mediatic production.
Highlights
Minha consciência tem mais de mil línguas, E todas me condenam por vilão, Criminoso, perjuro em alto grau, Assassino, no mais horrível grau
his paper presents a reading of the political trilogy House of Cards
script writers and directors of series celebrate the unparalleled art of Shakespeare by reworking themes
Summary
Brunilda Tempel Reichmann, “Tá diicícil competir”: adaptação da trilogia. Minha consciência tem mais de mil línguas, E todas me condenam por vilão, Criminoso, perjuro em alto grau, Assassino, no mais horrível grau. Para que possamos lançar um olhar crítico sobre as séries House of Cards da BBC e da Netlix, faremos uso de alguns teóricos da adaptação, tais como Gérard Genette, Linda Hutcheon, homas Leitch, Patrice Pavis, entre outros, pois as duas séries originam-se da trilogia política do escritor britânico Michael Dobbs, hoje Lord Dobbs, que atuou como assessor dos primeiros-ministros Margaret hatcher, John Major e David Cameron, da Inglaterra. Não nos atemos à noção de idelidade utilizada por Leitch, mas utilizaremos alguns termos que ele e os outros teóricos apresentam, quer façam referência à adaptação ou a técnicas de adaptação
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