Book contents
- Frontmatter
- Contents
- Preface
- List of Publications by Professor Marta Gibińska
- Part I
- The Mirror of Princes and the Distorting Mirror in Shakespeare's Chronicle Plays
- Shakespeare, Malory and The Sousing of Sir Dagonet
- Wrath and Anger in the Time of Shakespeare
- The “Closet” Scene in Hamlet: Freud, Localisation, Screen Versions, and Essentialist Characterisation
- Shooting “the King-Becoming Graces”: Malcolm in Rupert Goold's Macbeth, DVD (2010)
- Multicultural Shakespeare on the Contemporary Stage
- The Multifarious Times of One Body
- “Ugly” Tempests: The Aesthetics of Turpism in Derek Jarman's Film and Krzysztof Warlikowski's Stage Production
- Rosalind's Robe: Who Is Who, or Shakespeare à la française
- “Music to hear …”: On Translating Sonnet VIII by William Shakespeare
- Part II
“Ugly” Tempests: The Aesthetics of Turpism in Derek Jarman's Film and Krzysztof Warlikowski's Stage Production
from Part I
Published online by Cambridge University Press: 05 September 2014
- Frontmatter
- Contents
- Preface
- List of Publications by Professor Marta Gibińska
- Part I
- The Mirror of Princes and the Distorting Mirror in Shakespeare's Chronicle Plays
- Shakespeare, Malory and The Sousing of Sir Dagonet
- Wrath and Anger in the Time of Shakespeare
- The “Closet” Scene in Hamlet: Freud, Localisation, Screen Versions, and Essentialist Characterisation
- Shooting “the King-Becoming Graces”: Malcolm in Rupert Goold's Macbeth, DVD (2010)
- Multicultural Shakespeare on the Contemporary Stage
- The Multifarious Times of One Body
- “Ugly” Tempests: The Aesthetics of Turpism in Derek Jarman's Film and Krzysztof Warlikowski's Stage Production
- Rosalind's Robe: Who Is Who, or Shakespeare à la française
- “Music to hear …”: On Translating Sonnet VIII by William Shakespeare
- Part II
Summary
The turpism of the two productions consists in a double deprecation of aesthetic ideals: that linked with Bardolatry, on the one hand, and with Hollywood cinematic norms of beauty, on the other. Both directors (not that they are the first ones) appear to contest such soap opera, shall we say, standards with different agendas behind them, though: Jarman – with his alternative, low-budget cinema and gay culture, Warlikowski – with his search for a new theatre, in which the spectator's experience would rather be repulsive and disturbing than exhilarating and pleasurable one and an attempt to debunk Shakespeare as both theatrical and cultural icon. Of course, it is rather difficult to claim that both directors followed the ideas developed by turpist poets and critics of the movement, especially in the 1950s and 1960s Poland, yet one discovers many parallels between the Polish turpists and the approach to the aesthetic condition of both the fictitious world and the forms of art found in Derek Jarman's film The Tempest (1979) and Warlikowski's theatrical production, Burza (2003). Naturally, before a detailed analysis of the parallels can be carried out I will first attempt to delineate the major features of the phenomenon called in Polish “turpizm” (I will use the anglicised spelling, “turpism”).
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- Information
- Eyes to Wonder, Tongue to PraiseVolume in Honour of Professor Marta Gibińska, pp. 115 - 128Publisher: Jagiellonian University PressPrint publication year: 2012