The Canonical Status of Harry Potter and the Cursed Child has been a source of debate since its release. It is an original story written by J.K. Rowling, Jack Thorne, and John Tiffany and is the eighth story in the Harry Potter franchise. Its form is unique as it takes on the form of a two-part stage play that was first performed in London’s Palace Theatre in 2016. The global success and rave reviews lead many to ask if this addition to the canon should be taken seriously as part of both Rowling\u2019s writing and the wider world created within her novels.<\/p>\n
With no official ruling from Rowling or Warner Bros., many have chosen to make up their own idea about what permanence this iteration holds, but there are three main theories which all look at it from different angles\u2014literary, cinematic, and fanatical misinterpretation\u2014to determine what exactly makes something \u201ccanonical\u201d and if Harry Potter & The Cursed Child falls into any one category.<\/p>\n
From a literary point of view, one can argue that there has never been anything like this before: a full length movie or book authored by Rowling personally with implied participation from Production Manager Jack Thorne that follows up on the beloved stories we already know with original characters, premise, narrative elements and plot points that blend seamlessly within her literary universe (canon). The fact that Rowling herself allowed said script to be produced is quite telling as well; while she may not have fully endorsed it as canon material she still gave permission for it to come into fruition\u2013therefore involved in some way diminishes its non-canonical status.<\/p>\n
From a cinematic point a view Harry Potter & The Cursed Child did not see any big screen adaptation yet nor was it ever really intended too; thus leaving some people wondering when considering film quality aspects could it be consistently considered canon? The answer lies in how strictly one defines \u201ccinematic\u201d; widely accepted as meaning feature length movies usually starring<\/p>\n
With the recent release of the stage play, Harry Potter and The Cursed Child, many fans of the popular book series are wondering whether this addition to the story qualifies as canon literature. After all, with its thrilling storyline and surprising events it certainly captures the essence of what makes a quality J.K Rowling book. <\/p>\n
It\u2019s clear that The Cursed Child is set within the context of Harry Potter\u2019s universe – using characters from the books, references to familiar items and places \u2013 and so in many ways it could be considered part of that world. But is it on an equal footing with Rowling\u2019s beloved seven novels? <\/p>\n
The notion of canonical literature often refers to stories<\/a> which expand upon iconic works\u2014such as Star Wars or Lord of The Rings\u2014in ways which don\u2019t necessarily contradict anything from the original releases but offer new ideas instead. As such, anyone who reads Cursed Child can gain a new appreciation for Harry\u2019s world without feeling as though something was taken away or irreparably altered by this newer version. This means that in theory The Cursed Child closely follows canon happenings while still presenting compelling fresh content to readers. <\/p>\n But it remains difficult to definitively deem this spin-off work canonical or not due to its format: unlike Rowling\u2019s books which were meticulously planned far in advance and released over time for maximum impact, The Cursed Child leapt directly onto stages around the world seemingly out of nowhere. Being unable to appreciate how each scene may subtly refer back to themes present in her earlier work leaves much up in terms of analysis when looking at whether or not it would truly make sense for established fans who aren’t well acquainted with theatre production. Even though both creative entities involved ensure that every element sticks closely enough with Rowling’s canon universe, there remain some dedicated readers who will only consider books written by her hands alone canonical material; thus leaving more scepticism than assurance around calling Cursed Child completely accepted by these standards no matter<\/p>\n The Harry Potter book series has been a long time favorite for readers and media consumers of all ages. It’s no surprise then that the recent release of Harry Potter and the Cursed Child, a play based on the beloved characters, has generated a lot of buzz. The play has been adapted for film<\/a> and television, but does its presence truly have an impact on established canon? <\/p>\n It’s no secret that films and TV franchises influence viewers by highlighting particular messages or themes to emphasize a certain story set within the world of Harry Potter. This is especially true in instances where films or television shows are based on pre-existing source material such as books. With Harry Potter and the Cursed Child bringing new elements to the table, including more complicated plot points and interactions between characters, it might be difficult for film or television adaptations to make this transition smoothly without losing its original intent. <\/p>\n A key element of film and television adaptations is how much they stay true to their source material while still providing something fresh for fans. Since Harry Potter & The Cursed Child could potentially add complex layers to established stories, it will be interesting to see how producers handle presenting these new elements while also adhering to existing canon. Even more importantly, whether they decide to keep certain arching plotlines from the book separate from other parts of the franchise altogether remains up in the air – yet still seriously affects already established conversations about canon in regards to both film & television adaptations alike. <\/p>\n Most took well assessing the implications brought upon by adapting an exclusively theatrical piece into moving image forms; such an adaptation could force some characters out early due confusion caused by added content which was not previously part of JK Rowling\u2019s vision for Harry Potter\u2019s world at first glance . The question then becomes \u2013 can changes be made…? How far can we venture beyond what we already know? Or will having too much extra content skew our understanding away from Rowling\u2019s original work? Thus complicating viewing pleasure while disrupting<\/p>\n The Harry Potter series has been one of the most successful and beloved franchises in history, with generations of devoted fans worldwide. Thus, there was much anticipation when the novelHarry Potter and the Cursed Childwas released. However, the reaction to this novel\u2019s canonical status was mixed,<\/a> leaving fans debating its place among other Harry Potter works. <\/p>\n On one hand, some believe that because The Cursed Child is written by JK Rowling and is officially sanctioned by her and her representatives, it should be considered canon. Through reading the book<\/a> itself and taking into account information provided in interviews with JK Rowling surrounding its publication, readers can glean Rowling\u2019s intent for it to be a part of official Harry Potter cannon. This position holds that any alterations or additions to the existing body of work must come from its author for them to remain true to their source material. <\/p>\n On the other hand, many view The Cursed Child as an alternate universe story due to discrepancies within its own text when compared against earlier works from the franchise \u2013 including different character ages than originally<\/a> presented or circumstances which would directly interfere with previously established events. Though JK Rowling may view it as canon through her own interpretation or decisions made during production of stage plays or adaptations thereof — there are clear inconsistencies throughout works which do not corroborate with that narrative regarding the canonical status of The Cursed Child in relation all prior novels; creating a situation wherein readers take differing stances without necessarily being able to definitively determine whether The Cursed Child can legitimately be viewed as such. <\/p>\n Ultimately while public opinion remains divided on whether The Cursed Child can rightfully claim canonical status within Harry Potter fandom — readers themselves must decide what feels appropriate for them personally in each unique case given all available information available when forming an opinion on this controversial issue.<\/p>\n In recent years, one of the most hotly discussed topics in fan circles is whether or not JK Rowling officially recognizes Harry Potter and The Cursed Child script as part of the \u2018canon\u2019 or official canon of the world she created in her books. On the surface, it appears that she does in fact give a nod to the work through certain mentions and references on Twitter (and other platforms). But is this necessarily enough for fans to understand that Rowling herself considers The Cursed Child as canon?<\/p>\n This debate is based closely on what constitutes “canonical status” within a fictional universe \u2013 an element which has been carefully considered by both literary theorists and fandom scholars alike. What it comes down to, essentially, is how one can determine whether a text (in this case<\/a>, The Cursed Child story) holds any kind of authoritative representation in terms of its contribution to an established fictional universe. <\/p>\n One way to potentially assess this is through examining the level of institutional recognition that The Cursed Child receives compared with other sources associated with JK Rowling’s wizarding world. For example, if Rowling herself declared on Twitter that JK Rowling considers The Cursed Child as canonical, would that lend some form of authority; allowing fans and critics alike to recognize it as such? Ultimately though, while we may never know exactly how much weight specific institutions place on their interpretation of what \u2018canon’ actually entails – there is no denying that the task of creating authorship remains with those who wrote and interpreted these texts originally. <\/p>\n What we can be sure about when considering questions related to institutional recognition towards The Cursed Child is that texts like these are always created in relation to other cultural works; meaning any final judgement must go beyond celebrity endorsements alone \u2013 something only dedicated investigations will reveal over time.<\/p>\n The magic of the theatrical medium is that it allows us to experience and explore a story in an interactive, immersive way. The Cursed Child showcases how this can be adapted to the Harry Potter universe in unique ways, most notably with its use of timeturners as a mechanism for revisiting moments throughout the series. This allows us greater insight into characters\u2019 motivations, interactions, feelings and choices \u2013 essentially allowing us to step<\/a> inside their heads and gain new understanding of their decisions that was not possible before. As such, the story we find out through experiencing The Cursed Child can fit and enhance our existing understanding canon of the Potterverse without feeling like a jarring departure from it in any way. <\/p>\nEvaluating the Impact on Film and Television Adaptations: Does Harry Potter and the Cursed Child Impact Film & TV Canon?<\/h2>\n
Debating Popular Opinion: Fan Response to Harry Potter and the Cursed Childs Canonical Status<\/h2>\n
Examining Institutional Recognition: Does JK Rowling Endorse a Canonical Status for The Cursed Child?<\/h2>\n
Conclusion: Revisiting Our Initial Question – How is The Cursed Child Canon?<\/h2>\n