1. In terms of this research project, what have you been thinking about this week?
This week I have been thinking about the way that artists' work (particularly that of dramatists') can be appropriated and adapted repeatedly throughout history by other artists or historians in order to serve their vision. It is in this way that we have the power to shape the way a figure or work of art is remembered. By imposing our ourselves and our ideas onto a figure or a work of art, we are adding layers onto the original creation that obscure the way that the viewer experiences and remembers the original work. (Referring to my side-bar study below): For example, because The Fall references Doctor Faustus in their music, known historical theological dissident, they are adding to their own rebellious status while simultaneously associating their audience's perception of Faustus and Marlowe with the punk attitude of The Fall.
2. If you have undertaken any research, what did you discover?
Out of curiosity, I decided take a look at how Christopher Marlowe's Doctor Faustus has influenced other works of art in our modern age. I was pleasantly surprised to find a song called "DKTR. Faustus" by The Fall, a prolific British post/punk band that has been generating work since the 1970s. The spirit of 1970s punk is notably anti-establishment and values self-liberation from confines of social norms. I found it exciting that the dramatic work of Marlowe, our rebel against the theo-social norms of Elizabethan England, inspired the work of punk music renegades over 300 years after Marlowe's death.
3. How might you relate this research to your work in other classes or rehearsal?
My discoveries this week have inspired me to look simultaneously at works of art from the past and present and the way that reference to figures and works of years of the past perpetuate the spirit of a greater philosophical movement. The acknowledgement of predecessors of a multi-generational idea also creates an elevated pedestal for an individual. It is extremely possible that artists and historians have over the years built up the image of Christopher Marlowe as a first-rate rebel of the Elizabethan Age to support their own ideas, movements, studies, and visions of dramatic adaptations. This exaggeration of character can contribute to developing ideas and arts, but it the investment in his character can also be a departure from the human being.