Chapter 5: Coming to Grips with Shakespeare’s Tragedy in a Film Musical: Re-assessing Robert Wise and Jerome Robbins’s West Side Story (1961): Part I - Revisiting the Canon
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31 octobre 2023
- handle: 10670/1.anzuxq
- isbn: 978-1-009-20095-0
- halshs: halshs-04597972
- doi: 10.1017/9781009200905.006
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info:eu-repo/semantics/altIdentifier/doi/10.1017/9781009200905.006
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Romeo and Juliet Les Amants de Vérone musical West Side Story Robert Wise Jerome Robbins Renato Castellani Leonard BernsteinSujets proches
Conation Volition Cetanā Theme with variations Theme and variations Musical variations Lieder Solo songs Arias Art songs Ariettas Songs with various acc Solo vocal music, Secular Vocal culture Singing and voice culture Recreations Orchestras Serious music Musical compositions Art music Musical works Classical music Western music (Western countries) Art music, Western Western art music Affection Loss of hope Hopelessness Dancing Dances Bernstein Succinite Paraphrases, tales, etc Paraphrases, tales, etcCiter ce document
Pascale Drouet, « Chapter 5: Coming to Grips with Shakespeare’s Tragedy in a Film Musical: Re-assessing Robert Wise and Jerome Robbins’s West Side Story (1961): Part I - Revisiting the Canon », HAL-SHS : littérature, ID : 10.1017/9781009200905.006
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Before mainly focussing on Jerome Robbins and Robert Wise’s musical to examine relevant correspondences with Shakespeare’s play (such as the sustained rhythm of physical confrontations, or the poetic stasis of pure love, or the hectic reactions induced by loss and despair, or other emotional archetypes), this chapter will examine former screen adaptations in relation with either music or singing or dancing (including George Cukor’s 1936 version, with Agnes de Mille as a choreographer; André Cayatte’s 1949 Les Amants de Vérone, with Isabelle Aubret as a singer and Renato Castellani’s 1954 version, with Roman Vlad as a composer), so as to consider how and when emotional intensity is added to the play-text, and how West Side Story takes after and also increases such emotional intensity, as it wonderfully combines its screenplay with songs, symphonic orchestra, melodic and rhythmic variations, the dramatic device of leitmotifs and choreography.