Ancient and Modern Elements in Julie Taymors Adaptation of Shakespeare

antique and Modern Elements in Julie Taymors Adaptation of Shakespeares Titus Andronicus papist coliseum . . . Formica kitchenArmored warrior . . . Armored tankGregorian modulate . . . Hard RockWhite toga . . . Metallic business suit Ancient Rome . . . Modern AmericaAt first glance, these categories appear all in congruous, unable to exist together. However, in Julie Taymors adaptation of Shakespeares Titus Andronicus, we find that they are compatible after all. With elaborate sets, stunning costumes, and a remarkable inject wee, Taymor blurs the boundaries that break them and creates a world that accommodates two ancient Rome and modern America. The sprout soundtrack was an important element in creating the juxtaposed world that Taymor desired. Taymor selected Elliot Goldenfall, a gaffer composer for the stage and screen whom she had known for twenty years, to head the scoring. Their long joining served them well in this endeavor - the final film score was both stunning a nd effective in combining ancient and modern musical elements. Goldenfall manipulated four main musical styles to score the film (symphonic, jazz, hard rock, and aria), and for each one style represented particular emotions. The opening scene in the coliseum is a particularly potent display of Taymor and Goldenfalls artistic creativity. Warriors covered in gray armor, stoic faces smeared with a bluish-gray paste, march resolutely into the coliseum. As they pass away into formation, Goldenfall uses the powerful sounds of symphonic music to instill a feeling of triumph. Horns clamour victoriously. Footsteps are marched in a steady andante, matched with heavy drums. A fuddled male chorus joins the music, the singing reminiscent of modal G... ...us, and various dignitaries enter the dining room, Goldenfall inserts a muted Italian aria, like one perceive in a fine Italian restaurant. Considering the nature of the scene and the audiences noesis of what is to be served, the aria s erves to increase audience disgust. And as the beautiful music wafts finished the background of the scene and Tamora eats the flesh of her own sons, the revulsion is intensified. It is nigh a relief when the scene erupts into violence.It is not an easy task to intermingle modern society with that of ancient Rome. However, under Taymors direction the sets, costumes, and film score accomplish just that. In particular, by combining modern and archaic music styles, Goldenfall successfully augments the effects Taymor strives for. The result is a high-powered film that takes Shakespeares classic to levels it has not previously been taken.