Съвременната кинематографична визия и Шекспир
Contemporary Cinematic Vision and Shakespeare

Summary/Abstract: This text deals with several examples of screen visions of classical works by Shakespeare, built by means of contemporary digital technologies. Attention is focused on different feature and cartoon versions of the dramatized action, on analyses of the techniques and technologies of building of screen vision, as well as on Shakespeare’s presence in Bulgarian language. A question is posed as to whether it is easy to ‘digitalize’ Shakespeare? How precisely is a contemporary screen vision of a classical fairy story being built? Is it necessary to ‘modernize’ the vision in filming Shakespeare? An interesting moment comes when the Bard himself is also involved in the story as a real character along with the filming of one or several works by Shakespeare. The figure of the play-wright underlies the stories both of Anonymous and of Shakespeare in Love. Shakespeare’s type has also been inserted in the storyline of the 3D-animated Gnomeo and Juliet in the gag parts. While in one of the best examples in the field of animation again – the voluminous Next by Barry Purves – a plastic puppet looking very much like the well-known image of Shakespeare himself plays onstage 37 of the Bard’s most popular works in 5 minutes alone. The article draws attention to filming of Shakespeare’s plays oriented towards children’s audiences, or to ‘comic books’ based on the works by the great playwright.

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