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2) Beginning to
Theorize Adaptation:
Linda
Hutcheon
says that adaptations are everywhere today: on the television and movie screen,
on the musical and dramatic stage, on the Internet, in novels and comic books,
in your nearest park and video arcade. In a sense, adaptations are universal.
Adaptations are obviously not new to our time; however, Shakespeare transferred
his cultural stories from page to stage and made available to a new
audience. Linda Hutcheon adds that writing a
screenplay based on a great novel is a foremost thing and a matter of
simplification. She also cites
Rabindranath Tagore that “Cinema is still playing second fiddle to literature”.
Hutcheon talks about how Danish author Hans Christian Andersen’s The Little Mermaid, a well-known fairy
tale, was adapted into a musical
fantasy film. The musical elements tell the story and display the themes and
different emotions.
3) Adaptation is Based on a Story,
Novel or Any Other Work of Art
Fundamentally
speaking, adaptation is based on a story, novel or any other work of art. Basically, screen
adaptation is an art practically based on the raw material provided by the
novel, drama, short stories or any other form of art. Hutcheon states that,
“When we call a work an adaptation, we openly announce its overt relationship
to another work or works”. She believes
that adaptations are repeated with variation consumers stay interested because
the story becomes so well-known. Michael Alexander, a British translator,
academic and broadcaster, states that adaptations are palimpsestuous works, works that are haunted by their adapted
texts. Hutcheon wishes to avoid resorting to fidelity criticism, which
originates in the (often false) idea that the adapters wish to reproduce the
adapted text. There are many reasons why adapters may wish to adapt, which can
be as much to critique as to pay homage.
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