Ahmed 's Modernised Shakespeare & Differences.

Modernised Shakespeare Productions.

Othello was modernised in 1997 by Jude kelly. Stewart played Othello without the traditional blackface in this original and thought-provoking production featuring photo-negative casting, this change is one of few bold and largely successful choices in a production that also features an increased emphasis on abuse against women and racism. This was set in the Shakespeare Theater in Washington D.C.
This modernised production has reflected racism and marriage theme because of it's audience as racism was an issue back then. This modernised production has had great impact on its audience as the story's main theme was jealousy and for them to watch a modernised version helped them see it and understand it easily. 
The modernised production relates to the original context with the overall message to its contemporary and audience of today with the themes.
The target audience were mainly adults and the social discussion it created were several issues that have social implication. This version of Othello had great impact because the audience could put themselves in that position which is very important for the audience.

Essential to the success of Othello is the fact that the issues and themes explored in this tragedy, written by Shakespeare in about 1604, are still relevant to the modern audience. The interest of an audience is held by themes that are fundamental to the human condition, as these reflect our world and examine human nature. Othello explores the issues of racism, gender, domestic violence, the supernatural and the pathology of the entirely evil person, which are all remarkably relevant to our time. Thus the interest of the audience is held, as issues that affect the viewers and readers of the play spark individual opinions, reflection and thought. For example, in Act IV Scene I, Othello strikes Desdemona, instantly raising the issue of spousal abuse, and thus also prompting a reaction in the audience. By discussing themes that are relevant to people of any time, place and culture, Shakespeare has been successful in ensuring his play will hold the interest of audiences all over the world, for hundreds of years. 

Shakespeare ensures he shall hold the audience's interest by creating a colourful cast of characters for the audience to observe and become acquainted with. There is the malignant Iago, who seems to delight in his own wickedness, acknowledging himself as a villain without remorse. In Act II Scene III he asserts, "When devils will the blackest sins put on, they do suggest at first with heavenly shows as I do now." Other characters are also used as devices for holding the attention of the audience. For example, the readers and viewers of Othello would groan as Cassio is led into drunken behaviour, nod at the words of the perceptive Emilia and cringe at the machinations of Iago. By creating a wide range of characters, Shakespeare ensured they would evoke emotion in the audience and thus maintain their interest.

This photo shows Jude Kelly performing as Othello

  William Shakespeare’s Romeo and Juliet was not originally aimed for a teen audience, Luhrmann’s versionclearly is. Yet both retain the target of reaching across classes and social backgrounds with relatable and recognisable characters. despite its original audience of primarily female readers. This contrasts with Clueless, which brings the same classic story to modern teenage audiences, male and female alike. The emergence of films aimed at teenagers began in the late 1950s and 1960s, as they had a disposable income. Julie Everton explains that ‘[…] Teen flick genre […emerged in the…] 1950s as result of the fragmentation of mass cinema audiences into age specific consumer groups. In order for these films to be successful as adaptations audiences had to be able to relate to classics in new ways.

   These adaptations also used a variety of new media forms to interest an up-to-date modern teenage audience.  Romeo and Juliet[14] used sound, visuals, newspapers, text, images, montages and TV in the prologue to introduce the tone of the film. Clueless also uses a similar technique in its opening sequence.  Cher, the protagonist played by Alicia Sliverstone, even suggests that the montage appears like an advert, and there is constant reference in the film to other forms of popular culture. Heckerling and Luhrmann both used ideas that these films were up-to-date, though the plots are adapted from the original Shakespeare and Austen texts. This attracted younger audiences who saw their styles and tastes reflected in characters’, and therefore cared more for the story, and were drawn to watch them.
 information from : http://arts.brighton.ac.uk/study/english-literature-studies-brighton/brightonline/issue-number-four2/how-can-films-be-used-to-popularise-classics-for-teen-audiences,-with-specific-reference-to-william-shakespeare-1597-and-baz-luhrmanns-1996-romeo-and-juliet,-and-jane-austens-emma-1816-with-amy-heckerlings-clueless-1995