Шекспир в анимационен пунктир
Shakespeare in an animated stippled line

Summary/Abstract: The article problematizes the specifics of animated adaptations of Shakespeare’s plays. Screen adaptations would necessarily abridge the plays. Animation, disregarding the descriptive narrative codes, compresses into a well-larded and effective story what feature film would draw out to a great length. Animation film atones for the lack of a consistent narration using its own visual, synthetic or fantastic images that refer perception to an expanded connotative field based on prior knowledge of the original texts. The language of animated film creates devices of its own for a flash-like representation of the literary and dramatic symbolism and metaphoric imagery. The main accent in the article is on the issues of adaptation without dialogues, on replacement of the original text by voice-over commentaries and non-mimetic representations of Shakespearean characters through drawings, puppets or brushstrokes… Unconvincing screen animated deaths as well as the radical reshaping of the tragedy into … a comedy are also addressed. The articles reviews the movies A Midsummer Night’s Dream (Jiri Trnka, 1959), The Tempest (George Dunning, unfinished), Bottom’s Dream (John Canemaker, 1984), We Called them Montagues and Capulets (Donyo Donev, 1985), BBC series of 12 animated adaptations by Russian directors (1992–1994), Lion King (Roger Allers, Rob Minkoff, 1994) among others.

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