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Ethical Exchanges in Translation, Adaptation and Dramaturgy examines compelling ethical issues that concern practitioners and scholars in the fields of translation, adaptation and dramaturgy. Its 11 essays, written by academic theorists as well as scholar-practitioners, represent a rich diversity of philosophies and perspectives, and reflect a broad international frame of reference: Asia, Europe, North America, and Australasia. They also traverse a wide range of theatrical forms: classic and contemporary playwrights from Shakespeare to Ibsen, immersive and interactive theatre, verbatim theatre, devised and community theatre, and postdramatic theatre.
In examining the ethics of specific artistic practices, the book highlights the significant continuities between translation, adaptation, and dramaturgy; it considers the ethics of spectatorship; and it identifies the tightly interwoven relationship between ethics and politics.

Author: Jade Lum

through their imagination and the creative text, subconsciously reflecting the text to their own imagination and values, and finally, consciously questioning or changing their own values in the real. In this chapter, I will be exploring how specifically fantastic literary adaptations, such as Neil Gaiman

In: Contemporary Fairy-Tale Magic
Author: Rob Welch

evolved through adaptation beyond the limits of the Victorian period, these nuances also evolved or devolved in unexpected directions, offering reflections on how the twentieth century dealt with its cultural inheritance. Published in 1894, du Maurier’s Trilby is set in mid nineteenth-century Paris, in

In: Neo-Victorian Villains
Author: Jason Mark Ward
This book looks beyond fidelity to emphasize how each adaptation of D.H. Lawrence’s short stories functions as a creative response to a text, foregrounding the significance of its fluidity, transtextuality, and genre. The adaptations analysed range from the first to the most recent and draw attention to the fluidity of textual sources, the significance of generic conventions and space in film, the generic potentialities latent within Lawrence’s tales, and the evolving nature of adaptation. By engaging with recent advances in adaptation theory to discuss the evolving critical reception of the author’s work and the role of the reader, this book provides a fresh, forward-looking approach to Lawrence studies.

1 Introduction The fairy tale 1 adapts to the child and young adult reader through versions, adaptations (Hutcheon 7–8, Haase 2), and rewrites, depending on the degree of conservation of the hypotext that the writer uses as a source of inspiration. Hence, at a glance, throughout the history of

In: Contemporary Fairy-Tale Magic
Contemporary African Drama and Greek Tragedy
This book explores contemporary African adaptations of classical Greek tragedies. Six South African and Nigerian dramatic texts – by Yael Farber, Mark Fleishman, Athol Fugard, Femi Osofisan, and Wole Soyinka – are analysed through the thematic lens of resistance, revolution, reconciliation, and mourning.
The opening chapters focus on plays that mobilize Greek tragedy to inspire political change, discussing how Sophocles’ heroine Antigone is reconfigured as a freedom fighter and how Euripides’ Dionysos is transformed into a revolutionary leader.
The later chapters shift the focus to plays that explore the costs and consequences of political change, examining how the cycle of violence dramatized in Aeschylus’ Oresteia trilogy acquires relevance in post-apartheid South Africa, and how the mourning of Euripides’ Trojan Women resonates in and beyond Nigeria.
Throughout, the emphasis is on how playwrights, through adaptation, perform a cultural politics directed at the Europe that has traditionally considered ancient Greece as its property, foundation, and legitimization. Van Weyenberg additionally discusses how contemporary African reworkings of Greek tragedies invite us to reconsider how we think about the genre of tragedy and about the cultural process of adaptation.
Against George Steiner’s famous claim that tragedy has died, this book demonstrates that Greek tragedy holds relevance today. But it also reveals that adaptations do more than simply keeping the texts they draw on alive: through adaptation, playwrights open up a space for politics. In this dynamic between adaptation and pre-text, the politics of adaptation is performed.

remained true to his word, having his story (re)told in many ways throughout its 110-year existence in numerous formats and media including books, comics, films, video games, plays, presentations, and television programmes. In Kurtis J. Wiebe and Tyler Jenkins’s recent graphic novel adaptation, Peter

In: Contemporary Fairy-Tale Magic
Author: Anna McMullan

-specific work, and will conclude with a discussion of two intermedial performances, one an adaptation of Beckett’s television plays for performance from 1996 and the other an adaptation of some of Beckett’s short prose texts Fizzles from 2014. I am interested in looking at how these productions interfered

In: Samuel Beckett Today / Aujourd'hui

-ranging performative legacy; second, the problematics of the ‘unperformable,’ a term that haunts much of the discourse around prose adaptation, but which seems especially apt in the case of this curiously alluring yet infinitely demanding text. Although ‘performability’ is a concept extensively debated and developed

In: Samuel Beckett Today / Aujourd'hui
Volume Editor: Michael J. Meyer
It can safely be said that when literary texts are utilized or adapted by a musician to create a new work of art, it is seldom that a diminished or lessened product results. Rather, such a merging usually enlarges and enhances both text and tune, perhaps significantly changing the message of the original. Discovering exactly what the new form has to offer and how it relates to the text or melody that preceded it is often a daunting task, requiring a close examination of both the author’s and the composer’s intent.
The essays in this collection offer an analysis of several adaptations, some successful, some not so successful, and attempt to assess just what the musicians or writers have modified or changed from to the original as they re-form it into an altogether different media. Ranging from Pasternak’s appropriation of Tchaikovsky to Britten’s operatic versions of Billy Budd and the Turn of the Screw, from Celan’s use of fugal technique in his “Todesfuge” to the way that the musicianship of several women writers found voice in their writing, a broad spectrum of collaborations is examined. As readers examine an author’s respect for a long dead musician (Hopkins’ admiration of Purcell) or as they discover how John Harbison worked to transform Fitzgerald’s musicality in The Great Gatsby, it will be evident that musical adaptations often provide a richness that the originals did not possess and that the potential for greatness is heightened when the arts intersect.