https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=1325 Index des publications de auteurs Evrim Dogan Adanur fr 0 https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=1461 Much Ado About Nothing, in its display of the “merry war” between the sexes, alters in tone shifting between comedy and tragedy. The play brings together two sets of lovers in an aristocratic, elegant setting and the main action is regulated by masking, acting, eavesdropping, and spying. The conventional romantic relationship between Hero and Claudio is unsatisfactory to modern audiences with its submissive and slandered female character reconciling with her patriarchal fiancé without providing a proper denouement. The relationship between Beatrice and Benedick, marked by wit and satire, is more relevant to modern audiences, in its display of unconventional discussions of love and marriage. Tragic potential surfaces in a hierarchical society with gender injustice in the face of male sexual jealousy. Two relatively recent productions, Josie Rourke’s theatre production filmed live at Wyndham’s Theatre (2011) and Joss Whedon’s 2012 film production, offer different readings of the potential controversy in the play. While both productions rely on the tragic elements inherent in the play, Rourke’s production promotes the lighter elements of the play in a more festive atmosphere while Whedon’s dwells on its darker sides. This paper evaluates the ways in which these two productions appropriate the comic and tragic aspects of Much Ado About Nothing. mar., 11 déc. 2018 11:12:04 +0100 sam., 28 déc. 2019 14:24:38 +0100 https://shakespeare.edel.univ-poitiers.fr:443/shakespeare/index.php?id=1461