Macbeth, throne of Blood and the idea of a reflective adaptation

Adaptations have varied relations to their source material, making it hard to formulate a general theory. Instead, we characterise a narrower, more unified class of reflective adaptations which communicate an active and sometimes critical relation to the source’s framework. We identify the features of reflective adaptations which give them their distinctive interest. We show how these features are embodied in Akira Kurosawa's Throne of Blood, an adaptation which responds creatively and with a radically shifted perspective on the relation between character and situation compared to its Shakespearean source. We identify some of the artAdaptations have varied relations to their source material, making it hard to formulate a general theory. Instead, we characterise a narrower, more unified class of reflective adaptations which communicate an active and sometimes critical relation to the source’s framework. We identify the features of reflective adaptations which give them their distinctive interest. We show how these features are embodied in Akira Kurosawa's Throne of Blood, an adaptation which responds creatively and with a radically shifted perspective on the relation between character and situation compared to its Shakespearean source. We identify some of the artistic choices through which this response to the source is conveyed, such choices being a characteristic feature of reflective adaptations.istic choices through which this response to the source is conveyed, such choices being a characteristic feature of reflective adaptations.