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    But on mine honour dare I undertake For good Lord Titus' innocence in all, Whose fury not dissembled speaks his griefs.

    Then at my suit look graciously on him; Lose not so noble a friend on vain suppose. The irony here, of course, is that her false appeal to honour is what begins the bloody cycle of revenge which dominates the rest of the play.

    Although not all subsequent scenes are as heavily saturated with references to honour, nobility and virtue as is the opening, they are continually alluded to throughout the play.

    Later, after the Clown has delivered Titus' letter to Saturninus, Saturninus declares "Go, drag the villain hither by the hair. A further significant motif is metaphor related to violence; "the world of Titus is not simply one of meaningless acts of random violence but rather one in which language engenders violence and violence is done to language through the distance between word and thing, between metaphor and what it represents.

    No discussion of the language of Titus is complete without reference to Marcus's speech upon finding Lavinia after her rape:. Who is this? My niece that flies away so fast?

    Cousin, a word: where is your husband? If I do dream, would all my wealth would wake me! If I do wake, some Planet strike me down, That I may slumber in eternal sleep!

    Speak, gentle niece, what stern ungentle hands Hath lopped, and hewed and made thy body bare Of her two branches, those sweet ornaments, Whose circling shadows, Kings have sought to sleep in, And might not gain so great a happiness As half thy love?

    Why dost not speak to me? Alas, a crimson river of warm blood, Like to a bubbling fountain stirred with wind, Doth rise and fall between thy ros'd lips, Coming and going with thy honey breath.

    But sure some Tereus hath deflowered thee, And, lest thou should'st detect him, cut thy tongue. Ah, now thou turn'st away thy face for shame; And notwithstanding all this loss of blood, As from a conduit with three issuing spouts, Yet do thy cheeks look red as Titan's face, Blushing to be encountered with a cloud.

    Shall I speak for thee? Shall I say 'tis so? O, that I knew thy heart, and knew the beast, That I might rail at him to ease my mind!

    Sorrow conceal'd, like an oven stopped, Doth burn the heart to cinders where it is. Fair Philomela, why she but lost her tongue, And in a tedious sampler sewed her mind; But, lovely niece, that mean is cut from thee.

    A craftier Tereus, cousin, hast thou met, And he hath cut those pretty fingers off, That could have better sowed then Philomel.

    O, had the monster seen those lily hands Tremble, like aspen leaves , upon a lute , And make the silken strings delight to kiss them, He would not then have touched them for his life.

    Or, had he heard the heavenly harmony Which that sweet tongue hath made, He would have dropped his knife and fell asleep, As Cerberus at the Thracian poet's feet.

    Come, let us go, and make thy father blind, For such a sight will blind a father's eye. One hour's storm will drown the fragrant meads; What will whole months of tears thy father's eyes?

    Do not draw back, for we will mourn with thee; O, could our mourning ease thy misery! In this much discussed speech, the discrepancy between the beautiful imagery and the horrific sight before us has been noted by many critics as jarring, and the speech is often severely edited or completely removed for performance; in the RSC production, for example, director Peter Brook cut the speech entirely.

    There is also a great deal of disagreement amongst critics as to the essential meaning of the speech. John Dover Wilson, for example, sees it as nothing more than a parody, Shakespeare mocking the work of his contemporaries by writing something so bad.

    He finds no other tonally analogous speech in all of Shakespeare, concluding it is "a bundle of ill-matched conceits held together by sticky sentimentalism.

    Waith determines that the speech is an aesthetic failure that may have looked good on the page but which is incongruous in performance. However, defenders of the play have posited several theories which seek to illustrate the thematic relevance of the speech.

    For example, Nicholas Brooke argues that it "stands in the place of a choric commentary on the crime, establishing its significance to the play by making an emblem of the mutilated woman.

    Another theory is suggested by Anthony Brian Taylor, who argues simply that Marcus is babbling; "beginning with references to "dream" and "slumber" and ending with one to sleep, the speech is an old man's reverie; shaken by the horrible and totally unexpected spectacle before him, he has succumbed to the senile tendency to drift away and become absorbed in his own thoughts rather than confront the harshness of reality.

    Bate thus sees it as an illustration of language's ability to "bring back that which has been lost," i. Lavinia's beauty and innocence is figuratively returned in the beauty of the language.

    Palmer feels that the speech is an attempt to rationalise in Marcus' own mind the sheer horror of what he is seeing;.

    Marcus' lament is an effort to realise a sight that taxes to the utmost the powers of understanding and utterance. The vivid conceits in which he pictures his hapless niece do not transform or depersonalise her: she is already transformed and depersonalised Far from being a retreat from the awful reality into some aesthetic distance, then, Marcus' conceits dwell upon this figure that is to him both familiar and strange, fair and hideous, living body and object: this is, and is not, Lavinia.

    Lavinia's plight is literally unutterable Marcus' formal lament articulates unspeakable woes. Here and throughout the play the response to the intolerable is ritualised, in language and action, because ritual is the ultimate means by which man seeks to order and control his precarious and unstable world.

    In contradistinction to Dover Wilson and Waith, several scholars have argued that whilst the speech may not work on the page, it can work in performance.

    Discussing the Deborah Warner RSC production at The Swan in , which used an unedited text, Stanley Wells argues that Donald Sumpter 's delivery of the speech "became a deeply moving attempt to master the facts and thus to overcome the emotional shock of a previously unimagined horror.

    We had the sense of a suspension of time, as if the speech represented an articulation, necessarily extended in expression, of a sequence of thoughts and emotions, that might have taken no more than a second or two to flash through the character's mind, like a bad dream.

    Dessen writes "we observe Marcus, step-by-step, use his logic and Lavinia's reactions to work out what has happened, so that the spectators both see Lavinia directly and see through his eyes and images.

    In the process the horror of the situation is filtered through a human consciousness in a way difficult to describe but powerful to experience.

    Looking at the language of the play in a more general sense has also produced a range of critical theories. For example, Jacques Berthoud argues that the rhetoric of the play is explicitly bound up with its theme; "the entire dramatic script, soliloquies included, functions as a network of responses and reactions.

    Using the example of Marcus' speech, Reese argues that the audience is disconnected from the violence through the seemingly incongruent descriptions of that violence.

    Such language serves to "further emphasise the artificiality of the play; in a sense, they suggest to the audience that it is hearing a poem read rather than seeing the events of that poem put into dramatic form.

    This, however, "disrupts the way the audience perceives imagery. Another theory is provided by Peter M. Sacks , who argues that the language of the play is marked by "an artificial and heavily emblematic style, and above all a revoltingly grotesque series of horrors which seem to have little function but to ironise man's inadequate expressions of pain and loss".

    Although Henslowe doesn't specify a theatre, it was most likely The Rose. Repeated performances were staged on 28 January and 6 February.

    Some scholars, however, have suggested that the January performance may not be the first recorded performance of the play. Chambers, have identified with Shakespeare's play.

    The two were subjects of many narratives at the time, and a play about them would not have been unusual. Although it is known that the play was definitely popular in its day, there is no other recorded performance for many years.

    During the late seventeenth, eighteenth and nineteenth centuries, adaptations of the play came to dominate the stage, and after the Burley performance in and the possible Blackfriars performance some time prior to , there is no definite recorded performance of the Shakespearean text in England until the early twentieth century.

    After over years absent from the English stage, the play returned on 8 October , in a production directed by Robert Atkins at The Old Vic , as part of the Vic's presentation of the complete dramatic works over a seven-year period.

    Reviews at the time praised Hayes' performance but criticised Walter's as monotonous. Critically, the production met with mixed reviews, some welcoming the return of the original play to the stage, some questioning why Atkins had bothered when various adaptations were much better and still extant.

    Nevertheless, the play was a huge box office success, one of the most successful in the Complete Works presentation.

    Berdan and E. The cast list for this production has been lost. Brook had been offered the chance to direct Macbeth but had controversially turned it down, and instead decided to stage Titus.

    Olivier in particular was singled out for his performance and for making Titus a truly sympathetic character. Trewin for example, wrote "the actor had thought himself into the hell of Titus; we forgot the inadequacy of the words in the spell of the projection.

    Edward Trostle Jones summed up the style of the production as employing "stylised distancing effects. Some reviewers however, found the production too beautified, making it unrealistic, with several commenting on the cleanness of Lavinia's face after her tongue has supposedly been cut out.

    After its hugely successful Royal Shakespeare Theatre run, the play went on tour around Europe. No video recordings of the production are known, although there are many photographs available.

    The success of the Brook production seems to have provided an impetus for directors to tackle the play, and ever since , there has been a steady stream of performances on the English and American stages.

    After Brook, the next major production came in , when Douglas Seale directed an extremely graphic and realistic presentation at the Centre Stage in Baltimore with costumes that recalled the various combatants in World War II.

    Seale's production employed a strong sense of theatrical realism to make parallels between the contemporary period and that of Titus , and thus comment on the universality of violence and revenge.

    Seale set the play in the s and made pointed parallels with concentration camps , the massacre at Katyn , the Nuremberg Rallies and the Hiroshima and Nagasaki bombings.

    Saturninus was based on Benito Mussolini and all his followers dressed entirely in black; Titus was modelled after a Prussian Army officer; the Andronici wore Nazi insignia and the Goths at the end of the play were dressed in Allied Forces uniforms; the murders in the last scene are all carried out by gunfire, and at the end of the play swastikas rained down onto the stage.

    The play received mixed reviews with many critics wondering why Seale had chosen to associate the Andronici with Nazism , arguing that it created a mixed metaphor.

    Freedman had seen Seale's production and felt it failed because it worked by "bringing into play our sense of reality in terms of detail and literal time structure.

    Freedman argued that "if one wants to create a fresh emotional response to the violence, blood and multiple mutilations of Titus Andronicus , one must shock the imagination and subconscious with visual images that recall the richness and depth of primitive rituals.

    Additionally, the violence was stylised; instead of swords and daggers, wands were used and no contact was ever made. The colour scheme was hallucinatory, changing mid-scene.

    Characters wore classic masks of comedy and tragedy. The slaughter in the final scene was accomplished symbolically by having each character wrapped in a red robe as they died.

    A narrator was also used played by Charles Dance , who, prior to each act, would announce what was going to happen in the upcoming act, thus undercutting any sense of realism.

    The production received generally positive reviews, with Mildred Kuner arguing " Symbolism rather than gory realism was what made this production so stunning.

    Colin Blakely and John Wood as a vicious and maniacal Saturninus received particularly positive reviews. This production took the realistic approach and did not shirk from the more specific aspects of the violence; for example, Lavinia has trouble walking after the rape, which, it is implied, was anal rape.

    Nunn believed the play asked profound questions about the sustainability of Elizabethan society, and as such, he linked the play to the contemporary period to ask the same questions of late twentieth-century England; he was "less concerned with the condition of ancient Rome than with the morality of contemporary life.

    At the end of 4. Also in this vein, the play opened with a group of people paying homage to a waxwork of an obese emperor reclining on a couch and clutching a bunch of grapes.

    Bedford went with neither stylisation nor realism; instead the violence simply tended to happen off-stage, but everything else was realistically presented.

    The play received mixed reviews with some praising its restraint and others arguing that the suppression of the violence went too far.

    Many cited the final scene, where despite three onstage stabbings, not one drop of blood was visible, and the reveal of Lavinia, where she was totally bloodless despite her mutilation.

    This production cut Lucius' final speech and instead ended with Aaron alone on the stage as Sibyl predicts the fall of Rome in lines written by Bedford himself.

    Met with almost universally positive reviews, Jonathan Bate regards it as the finest production of any Shakespearean play of the entire s.

    Opting for a realist presentation, the play had a warning posted in the pit "This play contains scenes which some people may find disturbing," and numerous critics noted how, after the interval at many shows, empty seats had appeared in the audience.

    Young as Aaron. Campbell presented Titus in a much more sympathetic light than usual; for example, he kills Mutius by accident, pushing him so that he falls against a tree, and his refusal to allow Mutius to be buried was performed as if in a dream state.

    Standing at six foot four, his Aaron was purposely designed to be the most physically imposing character on the stage. Additionally, he was often positioned as standing on hills and tables, with the rest of the cast below him.

    When he appears with the Goths, he is not their prisoner, but willingly enters their camp in pursuit of his baby, the implication being that without this one weakness, he would have been invincible.

    The production featured a prologue and epilogue set in the modern era, foregrounded the character of Young Lucius, who acts as a kind of choric observer of events, and starred Robert Stattel as Titus, Melinda Mullins as Tamora, Harry Lennix as Aaron and Miriam Healy-Louie as Lavinia.

    Heavily inspired in her design by Joel-Peter Witkin , Taymor used stone columns to represent the people of Rome, who she saw as silent and incapable of expressing any individuality or subjectivity.

    Although Doran explicitly denied any political overtones, the play was set in a modern African context and made explicit parallels to South African politics.

    In his production notes, which Doran co-wrote with Sher, he stated, "Surely, to be relevant, theatre must have an umbilical connection to the lives of the people watching it.

    Writing in Plays International in August , Robert Lloyd Parry argued "the questions raised by Titus went far beyond the play itself [to] many of the tensions that exist in the new South Africa; the gulf of mistrust that still exists between blacks and whites Titus Andronicus has proved itself to be political theatre in the truest sense.

    Convinced that Act 1 was by George Peele, Alexander felt he was not undermining the integrity of Shakespeare by drastically altering it; for example, Saturninus and Tamora are present throughout, they never leave the stage; there is no division between the upper and lower levels; all mention of Mutius is absent; and over lines were removed.

    In , two major productions were staged within a few weeks of one another. Bailey focused on a realistic presentation throughout the production; for example, after her mutilation, Lavinia is covered from head to toe in blood, with her stumps crudely bandaged, and raw flesh visible beneath.

    So graphic was Bailey's use of realism that at several productions, audience members fainted upon Lavinia's appearance. The decision was taken by designer William Dudley , who took as his inspiration a feature of the Colosseum known as a velarium — a cooling system which consisted of a canvas-covered, net-like structure made of ropes, with a hole in the centre.

    Dudley made it as a PVC awning which was intended to darken the auditorium. Performed in Japanese, the original English text was projected as surtitles onto the back of the stage.

    In stark contrast to Bailey's production, theatricality was emphasised; the play begins with the company still rehearsing and getting into costume and the stage hands still putting the sets together.

    The production followed the Brook production in its depiction of violence; actress Hitomi Manaka appeared after the rape scene with stylised red ribbons coming from her mouth and arms, substituting for blood.

    Throughout the play, at the back of the stage, a huge marble wolf can be seen from which feed Romulus and Remus , with the implication being that Rome is a society based on animalistic origins.

    The play ends with Young Lucius holding Aaron's baby out to the audience and crying out " The horror! The horror! Several reviews of the time made much of the manner in which each production approached the appearance of Lavinia after the rape; "At Shakespeare's Globe, the groundlings are fainting at the mutilations in Lucy Bailey's coarse but convincing production.

    To Stratford-upon-Avon, Yukio Ninagawa brings a Japanese staging so stylised that it keeps turning the horror into visual poetry. It's the production's most powerful symbolic image, redolent of the dehumanising effects of war.

    Benedict Nightingale of The Times , for example, asked "is it enough to suggest bloodletting by having red ribbons flow from wrists and throats?

    Cruelty was stylised; the visceral became the aesthetic. You might think that this method had a cushioning effect. In fact it concentrates and heightens the horror.

    I am just trying to express these things in a different way from any previous production. Distancing itself from the violence it stages thanks to "dissonance," the production presents Lavinia onstage as if she were a painting Ninagawa's work distances itself from cruelty, as the spectacle of suffering is stylised.

    Ribbons that represent blood The production received generally very favourable reviews. In , Michael Sexton directed a modern military dress production at The Public Theater on a minimalistic set made of plywood boards.

    The production had a low budget and much of it was spent on huge volumes of blood that literally drenched the actors in the final scene, as Sexton said he was determined to outdo his contemporaries in terms of the amount of on-stage blood in the play.

    The production starred Jay O. Emphasising the gore and violence, the production carried a trailer with warnings of "graphic imagery and scenes of butchery.

    The production contrasted a military and modern Goth culture, but quickly disintegrated into an anarchic state, stressing the black comedy of the play.

    The first known adaptation of the play originated in the later years of the sixteenth century. In , a German publication entitled Englische Comedien und Tragedien contained a play called Eine sehr klägliche Tragaedia von Tito Andronico und der hoffertigen Käyserin darinnen denckwürdige actiones zubefinden A most lamentable tragedy of Titus Andronicus and the haughty empress, wherein are found memorable events.

    Transcribed by Frederick Menius, the play was a version of Titus performed by Robert Browne and John Greene's group of travelling players.

    The overriding plot of Tito Andronico is identical to Titus , but all the character names are different, with the exception of Titus himself. Written in prose, the play does not feature the fly killing scene 3.

    Another European adaptation came in , when Dutch dramatist Jan Vos wrote a version of the play entitled Aran en Titus , which was published in , and republished in , , and , illustrating its popularity.

    The play may have been based on a work, now lost, by Adriaen Van den Bergh , which may itself have been a composite of the English Titus and the German Tito Andronico.

    Vos' play focuses on Aaron, who, in the final scene, is burned alive on stage, beginning a tradition amongst adaptations of foregrounding the Moor and ending the play with his death.

    It was revived again in and The play was revived again in and with John Bickerstaff as Aaron and with Thomas Walker in the role.

    Rich's actors had little Shakespearean experience, and Quin was soon advertised as the main attraction. In , the adaptation was presented twice at Lincoln, both times with Quin as Aaron.

    Ravenscroft made drastic alterations to the play. He removed all of 2. Much of the violence was toned down; for example both the murder of Chiron and Demetrius and Titus' amputation take place off stage.

    A significant change in the first scene, and one with major implications for the rest of the play, is that prior to the sacrifice of Alarbus, it is revealed that several years previously, Tamora had one of Titus' sons in captivity and refused to show him clemency despite Titus' pleas.

    Aaron has a much larger role in Ravenscroft than in Shakespeare, especially in Act 1, where lines originally assigned to Demetrius and Tamora are given to him.

    Tamora doesn't give birth during the action, but earlier, with the baby secretly kept by a nurse. To maintain the secret, Aaron kills the nurse, and it is the nurse's husband, not Lucius, who captures Aaron as he leaves Rome with the child.

    Additionally, Lucius' army is not composed of Goths, but of Roman centurions loyal to the Andronici. The last act is also considerably longer; Tamora and Saturninus both have lengthy speeches after their fatal stabbings.

    Tamora asks for her child to be brought to her, but she stabs it immediately upon receiving it. In January and February an adaptation written and directed by and also starring Nathaniel Bannister was performed for four nights at the Walnut Street Theatre in Philadelphia.

    The playbill had a note reading "The manager, in announcing this play, adapted by N. Bannister from the language of Shakespeare alone, assures the public that every expression calculated to offend the ear, has been studiously avoided, and the play is presented for their decision with full confidence that it will merit approbation.

    The most successful adaptation of the play in Britain premiered in , written by Ira Aldridge and C. Aaron was rewritten to make him the hero of the piece played by Aldridge , the rape and mutilation of Lavinia were removed, Tamora Queen of Scythia became chaste and honourable, with Aaron as her friend only, and Chiron and Demetrius act only out of love for their mother.

    Only Saturninus is a truly evil character. Towards the end of the play, Saturninus has Aaron chained to a tree, and his baby flung into the Tiber.

    Aaron frees himself however and leaps into the river after the child. At the end, Saturninus poisons Aaron, but as Aaron dies, Lavinia promises to look after his child for him, due to his saving her from rape earlier in the piece.

    An entire scene from Zaraffa, the Slave King , a play written specifically for Aldridge in Dublin in was included in this adaptation.

    The deflowerment of Lavinia, cutting out her tongue, chopping off her hands, and the numerous decapitations which occur in the original, are wholly omitted, and a play not only presentable but actually attractive is the result.

    Aaron is elevated into a noble and lofty character; Tamora, the queen of Scythia, is a chaste though decidedly strong-minded female, and her connection with the Moor appears to be of legitimate description; her sons Chiron and Demetrius are dutiful children, obeying the behests of their mother.

    Thus altered, Mr. Aldridge's conception of the part of Aaron is excellent — gentle and impassioned by turns; now burning with jealousy as he doubts the honour of the Queen; anon, fierce with rage, as he reflects upon the wrongs which have been done him — the murder of Alarbus and the abduction of his son; and then all tenderness and emotion in the gentler passages with his infant.

    The next adaptation was in , when Kenneth Tynan and Peter Myers staged a thirty-five minute version entitled Andronicus as part of a Grand Guignol presentation at the Irving Theatre.

    Produced in the tradition of Theatre of Cruelty , the production edited together all of the violent scenes, emphasised the gore, and removed Aaron entirely.

    In a review in the Sunday Times on 11 November, Harold Hobson wrote the stage was full of "practically the whole company waving gory stumps and eating cannibal pies.

    In the Old Vic staged a heavily edited ninety-minute performance as part of a double bill with an edited version of The Comedy of Errors.

    Performed in the manner of a traditional Elizabethan production, the play received mixed reviews. The Times , for example, felt that the juxtaposition of the blood tragedy and the frothy comedy was "ill-conceived".

    Of the adaptation he wrote "it represents an attempt to render Shakespeare's early chaotic work fit for the German stage without having the Shakespearean atrocities and grotesqueries passed over in silence.

    Another major change is that after Aaron is presented with his love child, he flees Rome immediately, and successfully, and is never heard from again.

    Dürrenmatt also added a new scene, where Lucius arrives at the Goth camp and persuades their leader, Alarich, to help him.

    At the end of the play, after Lucius has stabbed Saturninus, but before he has given his final speech, Alarich betrays him, kills him, and orders his army to destroy Rome and kill everyone in it.

    Theatricality and falseness were emphasised, and when actors were off stage, they could be seen at the sides of the stage watching the performance.

    The production received lukewarm reviews, and had an average box office. A Shakespearean Commentary. Müller removed the entire first act, replacing it was a narrated introduction, and completely rewrote the final act.

    He described the work as "terrorist in nature", and foregrounded the violence; for example Lavinia is brutally raped on stage and Aaron takes several hacks at Titus' hand before amputating it.

    First performed at the Schauspielhaus Bochum , it was directed by Manfred Karge and Matthias Langhoff , and is still regularly revived in Germany.

    Set in both a contemporary and an ancient world predating the Roman Empire, the adaptation begins with a group of salesmen trying to sell real estate; gated communities which they proclaim as "Terra Secura", where women and children are secure from "theft, rape and kidnapping.

    Written in prose rather than blank verse , changes to the text include the rape of Lavinia being Tamora's idea instead of Aaron's; the removal of Marcus; Titus does not kill his son; he does not have his hand amputated; Chiron is much more subservient to Demetrius; Aaron is more philosophical, trying to find meaning in his acts of evil rather than simply revelling in them; Titus does not die at the end, nor does Tamora, although the play ends with Titus ordering the deaths of Tamora and Aaron.

    Racism was a major theme in this production, with Aaron initially wearing a gorilla mask, and then poorly applied blackface , and his baby 'played' by a golliwogg.

    In , as part of the Globe to Globe Festival at Shakespeare's Globe, the play was performed under the title Titus 2.

    Performed entirely in Cantonese , from an original script by Cancer Chong, the play had originally been staged in Hong Kong in The production took a minimalist approach and featured very little blood after Lavinia has her hands cut off, for example, she simply wears red gloves for the rest of the play.

    The production features a narrator throughout, who speaks both in first person and third person, sometimes directly to the audience, sometimes to other characters on the stage.

    The role of the narrator alternates throughout the play, but is always performed by a member of the main cast. The production received excellent reviews, both in its original Hong Kong incarnation, and when restaged at the Globe.

    Focusing on the backstories of Tamora and Lavinia, the play is set in Purgatory shortly after their deaths, where they find themselves in a waiting area with Aaron as their salvation or damnation is decided upon.

    As they try to come to terms with their unresolved conflict, Aaron serves as a master of ceremonies, initiating a dialogue between them, leading to a series of flashbacks to their lives prior to the beginning of the play.

    Wolfe, began previews at the Booth Theatre on Broadway on March 11, with an opening of April 21, The cast included Nathan Lane, Kristine Nielsen, and Julie White and involved servants tasked with cleaning up the carnage from the original play.

    Titus Andronicus: The Musical! The piece was very much a farce , and included such moments as Lavinia singing an aria to the tune of " Oops! I Did It Again " by Britney Spears , after her tongue has been cut out; Saturninus and Lucius engaged in a sword fight, but both being played by the same actor; Chiron and Demetrius 'played' by a gas can and a car radio respectively; the love child being born with a black moustache.

    A number of critics felt that the play improved on Shakespeare's original, and several wondered what Harold Bloom would have made of it.

    Staged as a farce, the production included moments such as Lavinia singing a song entitled "At least I can still sing" after having her hands cut off, but as she reaches the finale, Chiron and Demetrius return and cut out her tongue; Lucius is portrayed as a homosexual in love with Saturninus, and everyone knows except Titus; Titus kills Mutius not because he defies him, but because he discovers that Mutius wants to be a tap dancer instead of a soldier; Bassianus is a transvestite; Saturninus is addicted to prescription medication; and Tamora is a nymphomaniac.

    The horror comedy film Theatre of Blood , directed by Douglas Hickox featured a very loose adaptation of the play.

    Vincent Price stars in the film as Edward Lionheart, who regards himself as the finest Shakespearean actor of all time. When he fails to be awarded the prestigious Critic's Circle Award for Best Actor, he sets about exacting bloody revenge on the critics who gave him poor reviews, with each act inspired by a death in a Shakespeare play.

    One such act of revenge involves the critic Meredith Merridew played by Robert Morley. Lionheart abducts Merridew's prized poodles, and bakes them in a pie, which he then feeds to Merridew, before revealing all and force-feeding the critic until he chokes to death.

    This version enhanced the violence and increased the gore. For example, in the opening scene, Alarbus has his face skinned alive, and is then disembowelled and set on fire.

    As with Taymor's stage production, the film begins with a young boy playing with toy soldiers and being whisked away to Ancient Rome, where he assumes the character of young Lucius.

    A major component of the film is the mixing of the old and modern; Chiron and Demetrius dress like modern rock stars, but the Andronici dress like Roman soldiers; some characters use chariots, some use cars and motorcycles; crossbows and swords are used alongside rifles and pistols; tanks are seen driven by soldiers in ancient Roman garb; bottled beer is seen alongside ancient amphorae of wine; microphones are used to address characters in ancient clothing.

    According to Taymor, this anachronistic structure was created to emphasise the timelessness of the violence in the film, to suggest that violence is universal to all humanity, at all times: "Costume, paraphernalia, horses or chariots or cars; these represent the essence of a character, as opposed to placing it in a specific time.

    This is a film that takes place from the year 1 to the year Originally, the film was to end as Taymor's production had, with the implication that Lucius is going to kill Aaron's baby, but during production of the film, actor Angus Macfadyen , who played Lucius, convinced Taymor that Lucius was an honourable man and wouldn't go back on his word.

    Starks reads the film as a revisionist horror movie and feels that Taymor is herself part of the process of twentieth century re-evaluation of the play: "In adapting a play that has traditionally evoked critical condemnation, Taymor calls into question that judgement, thereby opening up the possibility for new readings and considerations of the play within the Shakespeare canon.

    Saturninus is a corporate head who has inherited a company from his father, and the Goths feature as contemporary Goths. Because Titus was broadcast several months after the rest of the seventh season, it was rumoured that the BBC were worried about the violence in the play and that disagreements had arisen about censorship.

    This was inaccurate however, with the delay caused by a BBC strike in The episode had been booked into the studio in February and March , but the strike meant it couldn't shoot.

    When the strike ended, the studio couldn't be used as it was being used by another production, and then when the studio became available, the RSC was using Trevor Peacock, and filming didn't take place until February , a year later than planned.

    All the body parts seen throughout were based upon real autopsy photographs, and were authenticated by the Royal College of Surgeons.

    For the scene when Chiron and Demetrius are killed, a large carcass is seen hanging nearby; this was a genuine lamb carcass purchased from a kosher butcher and smeared with Vaseline to make it gleam under the studio lighting.

    For the most part, the adaptation followed Q1 exactly and F1 for 3. For example, a few lines were cut from various scenes, such as Lavinia's "Ay, for these slips have made him noted long" 2.

    The adaptation also includes some lines from Q1 which were removed in subsequent editions; at 1. However, Howell got around this problem by beginning the play at 1.

    Then, at 1. Another notable stylistic technique used in the adaptation is multiple addresses direct to camera.

    For example, Saturninus' "How well the tribune speaks to calm my thoughts" 1. The most significant difference from the original play concerned the character of Young Lucius, who is a much more important figure in the adaptation; he is present throughout Act 1, and retrieves the murder weapon after the death of Mutius; it is his knife which Titus uses to kill the fly; he aids in the capture of Chiron and Demetrius; he is present throughout the final scene.

    Much as Julie Taymor would do in her filmic adaptation, Howell set Young Lucius as the centre of the production to prompt the question "What are we doing to the children?

    Thus the production became "in part about a boy's reaction to murder and mutilation. We see him losing his innocence and being drawn into this adventure of revenge; yet, at the end we perceive that he retains the capacity for compassion and sympathy.

    In , the animated sitcom South Park based an episode on the play. Cartman tries various methods to get his money back, but Scott remains always one step ahead.

    He then decides to exact revenge on Scott. After numerous failed attempts, he hatches a plan which culminates in him having Scott's parents killed, the bodies of whom he then cooks in chili, which he feeds to Scott.

    He then gleefully reveals his deception as Scott finds his mother's finger in the chilli. The play has very rarely been staged for radio.

    All references to Titus Andronicus , unless otherwise specified, are taken from the Oxford Shakespeare Waith , based on the Q1 text of except 3.

    Under its referencing system, 4. From Wikipedia, the free encyclopedia. Redirected from Lavinia Andronicus. This article is about the play by William Shakespeare.

    For the band of the same name, see Titus Andronicus band. Main article: The Peacham drawing. Main article: Authorship of Titus Andronicus.

    Main article: Themes in Titus Andronicus. The Privileged Playgoers of Shakespeare's London. Princeton: Princeton University Press. Provides extensive information on the likes and dislikes of theatrical audiences at the time.

    All modern editors adopt the latter spelling. Charlie Rose. Archived from the original on 29 March Retrieved 21 November New York Post. Shakespeare Quarterly.

    Archived from the original on 8 January Retrieved 16 January The Daily Telegraph. Retrieved 26 October British Theatre Guide.

    The New York Times. Financial Times. The Guardian. The Times. Archived from the original on 8 April Shakespeare Internet Editions.

    Metro Weekly. New York Daily News. The Independent. Retrieved 8 June The Jersey Journal. Retrieved 18 August Theatre Notes.

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