None of the classical Greek plays were original: they were all based on earlier plays or poems or myths. And none of Shakespeare's plays are original: they are all taken from earlier work. As You Like It is taken from a novel by Thomas Lodge published just 10 years before Shakespeare put on his play without attribution or acknowledgment. Chunks of Antony and Cleopatra are taken verbatim, and, to be sure, without apology, from a contemporary translation of Plutarch's Lives. Brecht's Caucasian Chalk Circle is taken from a play by Klabund, on which Brecht served as dramaturg in 1926; and Klabund had taken his play from an early Chinese play.
Sometimes playwrights steal stories and conversations and dreams and intimate revelations from their friends and lovers and call this original.
And sometimes some of us write about our own innermost lives, believing that, then, we have written something truly original and unique. But, of course, the culture writes us first, and then we write our stories. When we look at a painting of the virgin and child by Botticelli, we recognize at once that it is a Renaissance painting—that is it a product of its time and place. We may not know or recognize at once that it was painted by Botticelli, but we do see that it is a Renaissance painting. We see that it has been derived from, and authored by, the culture that produced it.
And yet we recognize, too, that this painting of the virgin and child is not identical to one by Raphael or Ghirlandaio or Leonardo. So, clearly, while the culture creates much of Botticelli, it is also true that Botticelli creates the culture—that he took the culture into himself and transformed it in his own unique way.
And so, whether we mean to or not, the work we do is both received and created, both an adaptation and an original, at the same time. We re-make things as we go. - Chuck Mee
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