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Longing for Titus' big screen debut.

Article Excerpt
Abstract

This article examines the emotional imbalance inflicted upon the title character in Julie Taymor's film adaptation of Titus Andronicus. The murder and torture of his children brings to the fore Titus' longing for stability, thus urging a cognitive assessment of the impact resultant from familial destruction. His internal struggles disclose the complexities involved in balancing love and sadness, compassion and anger. By acknowledging the intertwining of dichotomous emotions, students see in the film a character that defies stereotype or strict categorization as an unfeeling murderer.

Essay

With the release of Titus, the major motion picture based on Shakespeare's The Most Lamentable Roman Tragedy of Titus Andronicus, educators for the first time have the opportunity to show scenes of this macabre play to their classes. [1] Since some may fear that a production of such a bloody drama may disturb student sensibilities or divert attention away from the play's artistic merit, I attempt here to ease this worry by submitting a strategy of how to incorporate the film into the classroom in order to heighten student appreciation for the play. Since it is "arguably the most filmic of all Shakespeare's plays," a pedagogy illustrating Titus' salience not only allows the student to discern how the play's shocking and outrageous visual elements comment upon a father's (in)ability to console and unify his victimized family, but also undoes expectations of violent cinematic dramas. [2] This article seeks to create a means for student viewers to connect personally with the film so that the tortures, dismemberments, and grisly murders do not disaffect their critical consciousness.

Since the idea of "personally connecting" may connote an emotionally-laden sentiment, its import here is to affirm the students' own experiences, apply this knowledge to the action on the screen, and recognize that the play's value supersedes mere violent gratuity. The sought-after connection derives from a heightened awareness of internal coping mechanisms--particularly longing--and their capability to maintain mental stability. Subsequently, the scenes most suitable for class discussion revolve around the father-daughter relationship between Titus and Lavinia. [3] This familiar dynamic brings to light the human qualities in an otherwise inhuman play. Titus' struggle with his children's torments forces the audience to recognize the multiple pressures altering his state of mind. Director Julie Taymor chooses not to show explicitly the play's mutilations, focusing instead upon the consequences of these horrors upon Titus' concept of paternal care. [4] The result is a character portrayal of a father's longing to express compassion and preserve his sanity. This dual perspective invites the viewer to consider the manageability of those tragedies that exceed the bounds of human decency.

Longing defines Titus' self-destruction and highlights the play's ethical quagmires, for...

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