Matías Piñeiro’s Rosalinda (2010), an adaptation of As You Like It, Viola (2013), an adaptation of Twelfth Night, and La Princesa de Francia (2015), an adaptation of Love’s Labour’s Lost, represent a ‘Shakespeare-ida’ (trilogy) that foregrounds Shakespeare’s female characters. In all three filmic titles, a single persona is highlighted, suggesting a directorial tilt away from the thematic and towards the subjective, with women characters being lent a centralizing significance through an emphasis on gendered spaces, female bodies, and expressions of same-sex desire. Accessing Shakespeare thus, the films place a new imaginative spin on some of the central motifs of the comedies and purposefully invite engagement with performance-centred actions and plot lines. Part of this project involves interrogating the conventional endings of the comedies, and the trilogy is equally interested in testing and exposing expected generic conclusions. More broadly, the ‘Shakespeare-ida’ demonstrates how Shakespeare functions either as extract/abbreviation or in multiple combinations. Working through a range of texts, and combining texts, the trilogy affords enabling representations and new Shakespearean applications.
|Number of pages||18|
|Early online date||12 May 2017|
|Publication status||Published - 01 Aug 2017|