Between Poetics and Production. A Russian Trace in Shakespeare: The Animated Tales (Soyuzmultfilm / Christmas Films / S4C / BBC Wales)
Given that it was commissioned by channel S4C, with the scripts written by L. Garfield, dialogues recorded by British actors, and production coordinated by D. Edwards, the series Shakespeare: The Animated Tales (1992-94) could easily be viewed as a purely British television adaptation of British cla...
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| Publicado en: | URI:https://journals.openedition.org/interfaces, |
|---|---|
| Autor Principal: | |
| Formato: | Article ou chapitre numérique |
| Idioma: | Anglais |
| Publicado: |
Interfaces
2022
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| Sujets: | |
| Acceso en liña: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| id |
openedition-oai:revues.org:interfaces_4729 |
|---|---|
| record_format |
openedition |
| collection |
OpenEdition Journal |
| language |
Anglais |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/OpenEdition Journals/ |
| topic |
Shakespeare (William) poétique de l’adaptation films animés production cinématographique des films animés Shakespeare : The Animated Tales Christmas Films Studio S4C Shakespeare (William) poetics of adaptation animated films animated film production Shakespeare: The Animated Tales Christmas Films Studios S4C |
| spellingShingle |
Shakespeare (William) poétique de l’adaptation films animés production cinématographique des films animés Shakespeare : The Animated Tales Christmas Films Studio S4C Shakespeare (William) poetics of adaptation animated films animated film production Shakespeare: The Animated Tales Christmas Films Studios S4C Rybina, Polina Between Poetics and Production. A Russian Trace in Shakespeare: The Animated Tales (Soyuzmultfilm / Christmas Films / S4C / BBC Wales) |
| description |
Given that it was commissioned by channel S4C, with the scripts written by L. Garfield, dialogues recorded by British actors, and production coordinated by D. Edwards, the series Shakespeare: The Animated Tales (1992-94) could easily be viewed as a purely British television adaptation of British classics. However, this is a joint project, in which Russian studios Soyuzmultfilm and Christmas Films were responsible for animating the shows. This article therefore explores a “Russian trace” in Shakespeare: The Animated Tales, which reveals itself in both the poetics of each episode (directed by N. Orlova, N. Serebryakov, S. Sokolov, A. Zyablikova, etc.) and the specificity of the production process. It focuses on the interplay of animated images and their counterparts in Soviet film adaptations of Shakespeare. Indeed, M. Muat’s episode adapting Twelfth Night, N. Serebryakov’s adaptation of Othello, and Orlova’s interpretation of Hamlet rework a whole range of motifs inspired by Soviet adaptations (directed by I. Frid, S. Yutkevitch, G. Kosintsev, respectively). The dominant motifs of each episode also represent an imaginative approach taken by Russian animation artists who rewrote British classics through their visual poetics. The directors’ previous work in animation influences not only stylistic but also production choices (animation techniques, teams of production designers, animators, composers). Part of the article therefore focuses on the aspects of production transformed due to the British influence and yet still deeply rooted in the traditional style of work at Soyuzmultfilm (e. g. long production cycles). To explore this production specificity and its influence on poetics (the poetic matter), I interviewed several professionals involved in the project (N. Orlova, N. Dabizha, I. Markozyan, A. Zyablikova). |
| author |
Rybina, Polina |
| author_facet |
Rybina, Polina |
| author_sort |
Rybina, Polina |
| title |
Between Poetics and Production. A Russian Trace in Shakespeare: The Animated Tales (Soyuzmultfilm / Christmas Films / S4C / BBC Wales) |
| title_short |
Between Poetics and Production. A Russian Trace in Shakespeare: The Animated Tales (Soyuzmultfilm / Christmas Films / S4C / BBC Wales) |
| title_full |
Between Poetics and Production. A Russian Trace in Shakespeare: The Animated Tales (Soyuzmultfilm / Christmas Films / S4C / BBC Wales) |
| title_fullStr |
Between Poetics and Production. A Russian Trace in Shakespeare: The Animated Tales (Soyuzmultfilm / Christmas Films / S4C / BBC Wales) |
| title_full_unstemmed |
Between Poetics and Production. A Russian Trace in Shakespeare: The Animated Tales (Soyuzmultfilm / Christmas Films / S4C / BBC Wales) |
| title_sort |
between poetics and production. a russian trace in shakespeare: the animated tales (soyuzmultfilm / christmas films / s4c / bbc wales) |
| publisher |
Interfaces |
| publishDate |
2022 |
| container_title |
URI:https://journals.openedition.org/interfaces |
| url |
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.4000/interfaces.4729 https://ezproxy.univ-orleans.fr/login?url=https://journals.openedition.org/interfaces/4729 |
| _version_ |
1877293111762223104 |
| spelling |
openedition-oai:revues.org:interfaces_4729 https://doi.org/10.4000/interfaces.4729 urn:doi:10.4000/interfaces.4729 en https://journals.openedition.org/interfaces/4729 2022-07-20T02:00:00Z info:eu-repo/semantics/openAccess article info:eu-repo/semantics/article urn:handle:20.500.13089/h4ii https://creativecommons.org/licenses/by/4.0/ Between Poetics and Production. A Russian Trace in Shakespeare: The Animated Tales (Soyuzmultfilm / Christmas Films / S4C / BBC Wales) Interfaces Université Bourgogne Europe info:eu-repo/semantics/reference/issn/2647-6754 info:eu-repo/semantics/reference/issn/1164-6225 URI:https://journals.openedition.org/interfaces Rybina, Polina Shakespeare (William) poétique de l’adaptation films animés production cinématographique des films animés Shakespeare : The Animated Tales Christmas Films Studio S4C Shakespeare (William) poetics of adaptation animated films animated film production Shakespeare: The Animated Tales Christmas Films Studios S4C Given that it was commissioned by channel S4C, with the scripts written by L. Garfield, dialogues recorded by British actors, and production coordinated by D. Edwards, the series Shakespeare: The Animated Tales (1992-94) could easily be viewed as a purely British television adaptation of British classics. However, this is a joint project, in which Russian studios Soyuzmultfilm and Christmas Films were responsible for animating the shows. This article therefore explores a “Russian trace” in Shakespeare: The Animated Tales, which reveals itself in both the poetics of each episode (directed by N. Orlova, N. Serebryakov, S. Sokolov, A. Zyablikova, etc.) and the specificity of the production process. It focuses on the interplay of animated images and their counterparts in Soviet film adaptations of Shakespeare. Indeed, M. Muat’s episode adapting Twelfth Night, N. Serebryakov’s adaptation of Othello, and Orlova’s interpretation of Hamlet rework a whole range of motifs inspired by Soviet adaptations (directed by I. Frid, S. Yutkevitch, G. Kosintsev, respectively). The dominant motifs of each episode also represent an imaginative approach taken by Russian animation artists who rewrote British classics through their visual poetics. The directors’ previous work in animation influences not only stylistic but also production choices (animation techniques, teams of production designers, animators, composers). Part of the article therefore focuses on the aspects of production transformed due to the British influence and yet still deeply rooted in the traditional style of work at Soyuzmultfilm (e. g. long production cycles). To explore this production specificity and its influence on poetics (the poetic matter), I interviewed several professionals involved in the project (N. Orlova, N. Dabizha, I. Markozyan, A. Zyablikova). Puisqu’elle a été commissionnée par la chaîne S4C, avec les scripts rédigés par L. Garfield, les dialogues enregistrés par des acteurs britanniques, la production dirigée par D. Edwards, la série télévisée Shakespeare : The Animated Tales (1992-94) pourrait facilement être considérée comme une adaptation télévisuelle purement britannique de la littérature classique britannique. Cependant, il s’agit d’un projet commun, dans lequel les studios russes Soyuzmultfilm et Christmas Films ont leur part de responsabilité dans la réalisation des épisodes. Cet article explorera donc la « marque de fabrique » russe dans Shakespeare : The Animated Tales, qui se révèle à la fois dans la poétique de chaque épisode (réalisé par N. Orlova, N. Serebryakov, S. Sokolov, A. Zyablikova, etc.) et dans la particularité du processus de production. Je me suis concentrée sur l’interaction des images animées et sur leur équivalent dans l’adaptation filmique soviétique de Shakespeare. En effet, l’adaptation de La Nuit des rois par M. Muat, celle d’Othello par N. Serebryakov, et celle d’Hamlet par Orlova se réapproprient de nombreux thèmes, inspirés par les adaptations soviétiques (réalisées par I. Frid, S. Yutkevitch, G. Kosintsev respectivement). Les motifs principaux de chaque épisode représentent également une approche imaginaire par les artistes russes qui travaillent dans l’animation et qui ont réécrit les classiques britanniques avec leur poétique visuelle. Le travail dans l’animation par les réalisateurs qui ont précédé n’a pas seulement influencé les choix stylistiques mais aussi les choix de production (méthodes de travail dans l’animation, équipes de chefs décorateurs, animateurs, compositeurs). Par conséquent, une partie de cet article se concentre sur les aspects de production qui ont été transformés suite à l’influence britannique et qui sont toujours bien ancrés dans le style traditionnel du travail à Soyuzmultfilm (par exemple dans les longues productions filmiques). Pour explorer cette particularité de production et son influence dans la poétique, j’ai interrogé plusieurs professionnels qui ont été impliqués dans ce projet (N. Orlova, N. Dabizha, I. Markozyan, A. Zyablikova). |