Abstract

A review of six theatre and film versions of Titus Andronicus notes varied approaches to the text: Peter Brook's stylized symbolism, Ninagawa Yukio's victim art, Jane Howell's mimetic realism, Julie Taymor's postmodern absurdism, Wang Chia-ming's playful parody, and Christopher Dunne's Gothic horror. Tang Shu-wing's approach in Titus Andronicus 2.0 (Hong Kong: Tang Shu-wing Theatre Studio, 2009) shows his rejection of sensationalist and consumerist presentations of the violence in the script. Tang's minimalism de-dramatizes violence via the narrative form of tale telling, and then poeticizes it through the performance of the poetic body, creating a profound and thought-provoking production.

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Additional Information

ISSN
1527-2109
Print ISSN
0742-5457
Pages
pp. 44-66
Launched on MUSE
2011-05-28
Open Access
No
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