Editing Titus Andronicus (section)

===Plays===

The first known adaptation of the play originated in the later years of the sixteenth century. In 1620, a German publication entitled {{lang|de|Englische Comedien und Tragedien}} contained a play called {{lang|de|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 (Elizabethan actor)|Robert Browne]] and [[John Greene (actor)|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 (3.2), Bassianus does not oppose Saturninus for the throne, Alarbus is absent, Quintus and Mutius are only seen after their death, many of the classical and mythological allusions have been removed; stage directions are much more elaborate, for example, in the banquet scene, Titus is described as wearing blood-soaked rags and carrying a butcher's knife dripping with blood.<ref>See Dover Wilson (1948: xl–xli), Waith (1984: 7) and Bate (1995: 44–48) for more information on ''Tito Andronico''.</ref>

Another European adaptation came in 1637, when Dutch dramatist [[Jan Vos (poet)|Jan Vos]] wrote a version of the play entitled ''Aran en Titus'', which was published in 1641, and republished in 1642, 1644, 1648 and 1649, illustrating its popularity. The play may have been based on a 1621 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.<ref>Bate (1995: 47)</ref>

[[File:Titus - Miss P. Hopkins.jpg|upright=0.70|left|thumb|Miss P. Hopkins as Lavinia in Ravenscroft's ''The Rape of Lavinia'', from [[John Bell (publisher)|John Bell]]'s edition of Shakespeare (1776)]]
The earliest English language adaptation was in 1678 at [[Theatre Royal, Drury Lane|Drury Lane]], by Edward Ravenscroft: ''Titus Andronicus, or the Rape of Lavinia. A Tragedy, Alter'd from Mr. Shakespeares Works'', probably with [[Thomas Betterton]] as Titus and [[Samuel Sandford]] as Aaron.<ref>Dover Wilson (1948: lxviii)</ref> In his preface, Ravenscroft wrote "Compare the Old Play with this you'l<!--Not a typo--> finde that none in all that Authors Works ever receiv'd greater Alterations or Additions, the language not only Refin'd, but many Scenes entirely New: Besides most of the principal Characters heighten'd and the Plot much incresas'd." The play was a huge success and was revived in 1686, and published the following year. It was revived again in 1704 and 1717.<ref>Waith (1984: 45)</ref> The 1717 revival was especially successful, starring John Mills as Titus, Mrs. Giffard as Tamora, [[James Quin]] as Aaron, and John Thurmond as Saturninus. The play was revived again in 1718 and 1719 (with John Bickerstaff as Aaron) and 1721 (with Thomas Walker in the role).<ref>Hughes (2006: 25)</ref> Quin had left Drury Lane in 1718 and gone to [[Lincoln's Inn Fields]], which was owned by [[John Rich (producer)|John Rich]]. Rich's actors had little Shakespearean experience, and Quin was soon advertised as the main attraction. In 1718, the adaptation was presented twice at Lincoln, both times with Quin as Aaron. In the 1720–1721 season, the play earned £81 with three performances.<ref>Hughes (2006: 26)</ref> Quin became synonymous with the role of Aaron, and in 1724 he chose the adaptation as the play to be performed at his benefit.<ref>Halliday (1964: 399, 403, 497)</ref>

Ravenscroft made drastic alterations to the play. He removed all of 2.2 (preparing for the hunt), 3.2 (the fly killing scene), 4.3 (firing the arrows and sending the clown to Saturninus) and 4.4 (the execution of the clown). 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 does not 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. Aaron laments that Tamora has now outdone him in evil; "She has out-done me in my own Art –/Out-done me in Murder – Kille'd her own Child./Give it me – I'le eat it." He is burned alive as the climax of the play.<ref>Detailed overviews of the various changes made by Ravenscroft can be found in Dover Wilson (1948: lxvii–lxviii), Dessen (1989: 7–11), Bate (1995: 48–54) and Hughes (2006: 21–24)</ref>

In January and February 1839 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. H. 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." In his ''History of the Philadelphia Stage'', Volume IV (1878), Charles Durang wrote, "Bannister ably preserved the beauties of its poetry, the intensity of its incidents, and excluded the horrors with infinite skill, yet preserved all the interest of the drama." Nothing else is known about this production.<ref>Waith (1984: 87); Dessen (1989: 11); Barnet (2005: 154)</ref>

[[File:Ira Aldridge as Aaron in Titus Andronicus.jpg|thumb|upright=0.70|African–American actor Ira Aldridge as Aaron, {{circa|1852}}]]
The most successful adaptation of the play in Britain premiered in 1850, written by [[Ira Aldridge]] and [[C. A. Somerset]]. 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 1847, was included in this adaptation.<ref>Dessen (1989: 11–12) and Hughes (2006: 29)</ref> After the initial performances, Aldridge kept the play in the repertoire, and it was extremely successful at the box office and continued to be staged in England, Ireland, Scotland and Wales until at least 1857, when it received a glowing review from ''[[The Sunday Times]]'' on 26 April. It was generally agreed amongst reviewers of the period that the Aldridge/Somerset rewrite was considerably superior to Shakespeare's original.<ref>Waith (1984: 49)</ref> For example, ''[[The Era (newspaper)|The Era]]'' reviewer wrote,

{{quote|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.<ref>From ''The Era'', 26 April 1857; quoted in Barnet (2005: 155)</ref>}}

The next adaptation was in 1951, when [[Kenneth Tynan]] and [[Peter Myers (dramatist)|Peter Myers]] staged a thirty-five-minute version entitled ''Andronicus'' as part of a [[Grand Guignol]] presentation at the [[Irvington Historic District (Indianapolis, Indiana)#The Irving Theatre|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".<ref>Barnet (2005: 155)</ref>

In 1957 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]]''. Directed by [[Walter Hudd]], both plays were performed by the same company of actors, with [[Derek Godfrey]] as Titus, [[Barbara Jefford]] as Tamora, [[Margaret Whiting (actress)|Margaret Whiting]] as Lavinia and [[Robert Helpmann]] as Saturninus. 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".<ref>Barnet (2005: 157)</ref>

In 1970, Swiss dramatist [[Friedrich Dürrenmatt]] adapted the play into a German language comedy entitled {{lang|de|Titus Andronicus: Komödie nach Shakespeare}} (''Titus Andronicus: Comedy After Shakespeare''). 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." Working from a translation of the ''First Folio'' text by [[Wolf Graf von Baudissin]], Dürrenmatt altered much of the dialogue and changed elements of the plot; the fly killing scene (3.2) and the interrogation of Aaron (5.1) were removed; Titus has Aaron cut off his hand, and after he realises he has been tricked, Marcus brings Lavinia to him rather than the other way around as in the original play. 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.<ref>All information taken from Lukas Erne, "Lamentable tragedy or black comedy?: Frederick Dürrenmatt's adaptation of ''Titus Andronicus''", in Sonia Massai (editor), ''World Wide Shakespeare: Local Appropriations in Film and Performance'' (New York: Routledge, 2005), 88–94.</ref>

In 1981, [[John Barton (director)|John Barton]] followed the 1957 Old Vic model and directed a heavily edited version of the play as a double bill with ''[[The Two Gentlemen of Verona]]'' for the RSC, starring [[Patrick Stewart]] as Titus, [[Sheila Hancock]] as Tamora, [[Hugh Quarshie]] as Aaron and [[Leonie Mellinger]] as Lavinia. 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.<ref>Waith (1984: 54)</ref>

In 1984, German playwright [[Heiner Müller]] adapted the play into {{lang|de|Anatomie Titus: {{lang|en|cat=no|Fall of Rome}}. Ein Shakespearekommentar}} (''Anatomy Titus: Fall of Rome. A Shakespearean Commentary''). Interspersing the dialogue with a chorus like commentary, the adaptation was heavily political and made reference to numerous twentieth century events, such as the rise of the [[Nazi Germany|Third Reich]], [[Stalinism]], the erection of the [[Berlin Wall]] and the attendant [[Eastern Bloc emigration and defection|emigration and defection issues]], and the [[1973 Chilean coup d'état]]. 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.<ref>Steve Earnst, "''Anatomie Titus Fall of Rome'' at the Deutsches Theater", ''Western European Stages'', (Winter, 2008)</ref>

In 1989, [[Jeanette Lambermont]] directed a heavily edited [[kabuki]] version of the play at the Stratford Shakespeare Festival, in a double bill with ''The Comedy of Errors'', starring [[Nicholas Pennell]] as Titus, [[Goldie Semple]] as Tamora, Hubert Baron Kelly as Aaron and Lucy Peacock as Lavinia.

In 2005, German playwright [[Botho Strauß]] adapted the play into {{lang|de|Schändung: nach dem Titus Andronicus von Shakespeare}} (''Rape: After Titus Andronicus by Shakespeare''), also commonly known by its French name, {{lang|fr|Viol, d'après Titus Andronicus de William Shakespeare}}. 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 {{lang|la|italic=no|"Terra Secura"}}, where women and children are secure from "theft, rape and kidnapping". Mythology is important in the adaptation; [[Venus (mythology)|Venus]] is represented as governing nature, but is losing her power to the melancholic and uninterested Saturn, leading to a society rampant with {{lang|de|Bedeutungslosigkeit}} (lack<!--not loss--> of meaning, insignificance). 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.<ref>Mechele Leon, Review, ''Theatre Journal'', 58:2 (May 2006), 313–314</ref><ref>Sylvie Ballestra-Puech, "Violence and Melancholy in Shakespeare's ''Titus Andronicus'', Botho Strauss' ''Rape'' and Sarah Kane's ''Blasted'', ''Loxias'', 31 (December 2010)</ref>

In 2008, Müller's ''Anatomie Titus'' was translated into English by Julian Hammond and performed at the [[Cremorne Theatre]] in [[Brisbane]], the [[Canberra Theatre]], the Playhouse in the [[Sydney Opera House]] and the [[Malthouse Theatre, Melbourne]] by the [[Bell Shakespeare|Bell Shakespeare Company]] and the [[Queensland Theatre Company]]. Directed by [[Michael Gow]] and with an all-male cast, it starred [[John Bell (Australian actor)|John Bell]] as Titus, Peter Cook as Tamora, Timothy Walter as Aaron and Thomas Campbell as Lavinia. 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]].<ref>{{cite web |url=http://theatrenotes.blogspot.com/2008/11/review-anatomy-titus-fall-of-rome.html |title=''Anatomy Titus: Fall of Rome'' Review |first=Alison |last=Croggon|date=29 November 2008|publisher=Theatre Notes|access-date=21 November 2012}}</ref><ref>{{cite web |url=http://www.australianstage.com.au/reviews/canberra/anatomy-titus-fall-of-rome--bell-shakespeare--qtc-1955.html |title=''Anatomy Titus: Fall of Rome'' Review |first=Alice |last=Allan|date=13 October 2008|publisher=Australian Stage|access-date=21 November 2012}}</ref>

In 2012, as part of the [[Globe to Globe Festival]] at Shakespeare's Globe, the play was performed under the title ''Titus 2.0''. Directed by [[Tang Shu-wing]], it starred Andy Ng Wai-shek as Titus, Ivy Pang Ngan-ling as Tamora, Chu Pak-hong as Aaron and Lai Yuk-ching as Lavinia. Performed entirely in [[Cantonese]], from an original script by Cancer Chong, the play had originally been staged in Hong Kong in 2009. 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.<ref>Yong Li Lan, "Tang Shu-wing's titus and the acting of violence", in Susan Bennett and Christie Carson (editors), ''Shakespeare Beyond English: A Global Experiment'' (Cambridge: Cambridge University Press, 2013), 115–120</ref><ref>{{cite news |url=https://www.theguardian.com/stage/2012/may/10/titus-andronicus-shakespeares-globe-review|title=Titus Andronicus – review|newspaper=[[The Guardian]]|first=Andrew |last=Dickson|date=10 May 2012|access-date=8 February 2014}}</ref><ref>{{cite web |url=http://globalshakespeares.mit.edu/blog/2012/01/23/tang-shu-wings-titus-andronicus-2-0-a-poetic-minimalism-of-violence/|title=Tang Shu-wing's Titus Andronicus 2.0 and a Poetic Minimalism of Violence |publisher=MIT Global Shakespeares|first=Howard |last=Choy|date=23 January 2013|access-date=8 February 2014}}</ref>

In 2014, Noelle Fair and Lisa LaGrande adapted the play into ''Interpreting her Martyr'd Signs'', the title of which is taken from Titus' claim to be able to understand the mute Lavinia. 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.<ref>{{cite web|title=Interpreting Her Martyr'd Signs|url=http://planetconnections.org/interpreting-her-martyrd-signs/|publisher=For Love and Duty Players|access-date=18 May 2014}}</ref>

''[[Gary: A Sequel to Titus Andronicus]]'', an absurdist comic play by [[Taylor Mac]] and directed by George C. Wolfe, began previews at the Booth Theatre on Broadway on 11 March 2019 with an opening of 21 April 2019. The cast included Nathan Lane, Kristine Nielsen, and Julie White and involved servants tasked with cleaning up the carnage from the original play.<ref>{{cite web|url=http://www.playbill.com/production/gary-a-sequel-to-titus-andronicus-booth-theatre-2018-2019|title= A Sequel to Titus Andronicus |website=Playbill}}</ref>