Edward Bond, Tom Stoppard, and Shakespeare: The anxiety of influence.
Item
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Title
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Edward Bond, Tom Stoppard, and Shakespeare: The anxiety of influence.
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Identifier
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AAI9000745
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identifier
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9000745
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Creator
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Zeid, Wagdi Ahmed.
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Contributor
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Adviser: Marvin Carlson
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Date
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1989
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Language
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English
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Publisher
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City University of New York.
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Subject
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Theater | Literature, English
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Abstract
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According to the theoretical perspective of this research, a belated dramatist's version may be judged to be as original as his precursor's original if the belated dramatist manages to swerve away from his precursor by so reading his precursor's play as to execute a corrective movement in his own play. In the truly new play the playwright creates a movement of discontinuity with the parent-play through an antithetical proceeding.;In the new textual encounter, Lear, Bond's attempt to be the dominant interpreter is quite evident. The basic difference between Shakespeare's and Bond's version consists of Bond's concern not only for the personal tragedy of the characters, but for the tragedy of a society that revels in moralized and institutionalized patterns of aggression. Bond's urge to reinforce his antithetical statement compels him to change drastically the pattern of relationships in Shakespeare's play. Bond's antithetical statement is underscored by the one-sided-structure, the development of scenes, and the use of powerful theatrical imagery.;Despite the apparent derivativeness recognized in Rosencrantz and Guildenstern Are Dead, Stoppard could establish his own individual presence in the new textual encounter. According to the theoretical perspective of this study, Stoppard's version may be judged to be less original than that of Bond because Stoppard's play lacks a distinctive antithetical statement. Nevertheless, through bringing Rosencrantz and Guildenstern and the players to the foreground of his play, and by developing thoroughly his sophisticated use of mirror technique (the play within the play and mimetic scenes), Stoppard could bring about a brilliant inversion of Shakespeare's material. Like Bond, Stoppard uses theatrical imagery which is basic to the concerns, forms, and the dramatic structure of his play.
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Type
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dissertation
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Source
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PQT Legacy CUNY.xlsx
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degree
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Ph.D.
