Changing perceptions is a learning process. When Shakespeare's play text Macbeth was appropriated by Nikolai Leskov in his novella A Lady Macbeth of the Mtsensk District (1865), which was adapted by Dmitri Shostakovich and remediated into the opera Lady Macbeth of Mtsensk (1934), which was adapted again and remediated into an opera film by Shapiro as Katerina Ismailova in 1967, each new remediation carried the politics of theatrical performance inherent in Shakespeare's play, and thus the education of those who read or participated in the performance of each manifestation of the adaptation. Through discussion of the changes that take place as Shakespeare's Macbeth is remediated to A Lady Macbeth of Mtsensk in Russian literature, and Soviet opera and opera on film, I argue that each historically situated remediation presented a coded criticism of the way in which the authorities ruled and educated the Russian nation: adaptation as education.In Adaptation and Appropriation Sanders perceives adaptation as signal[ling] a relationship with an informing source text or original; a cinematic version of Shakespeare's Hamlet, for example, although clearly reinterpreted by the collaborative efforts of director, scriptwriters, actors and generic demands of the movement from stage drama to film, remains ostensibly Hamlet, a specific version, albeit achieved in alternative temporal and generic modes, of that seminal cultural text.
consumption that will never find its fulfilment as there is no such thing as total presence of the self. Thus the fatality of presence lies in its hiding of a fundamental loss (Mangel). Certain experiences, among them the experience of one's self, can never be had without some kind of mediation. Therefore, Siegmund argues, dance's 'presence must make the detour through absence in order to escape the status of mere exchange of information, styles, and movements in a perennial present, in order to make possible an irretrievable experience, such as death, for dancers and for the audience' (p. 33). Siegmund and Lepecki meet in this aspect of fundamental melancholy within dance, movement and the bodies that serve as instrument in its visualization and conceptual definition. Both books undoubtedly offer dance studies a wealth of critical input. After being fundamentally challenged by Exhausting Dance and Abwesenheit, dance and performance may never be as easy again as they may have hoped to be.
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