Bücher der Reihe Adaptation in Theatre and Performance

This book examines the recent trend for re-performance and how this impacts on the relationship between live performance and death. Focusing specifically on examples of performance art the text analyses the relationship between performance, re-performance and death, comparing the process of re-performance to the process of mourning and arguing that both of these are processes of adaptation and survival. Using a variety of case studies, including performances by Ron Athey, Julie Tolentino, Martin O¿Brien, Sheree Rose, Jo Spence and Hannah Wilke, the book explores performances which can be considered acts of re-performance, as well as performances which examine some of the critical concerns of re-performance, including notions of illness, loss and death. By drawing upon both philosophical and performance studies discourses the text takes a novel approach to the relationship between re-performance, mourning and death.

This book examines the processes of adaptation across a number of intriguing case studies and media.

This book theorizes auteur Robert Lepage's scenography-based approach to adapting canonical texts. Lepage's technique is defined here as 'scenographic dramaturgy', a process and product that de-privileges dramatic text and relies instead on evocative, visual performance and intercultural collaboration to re-envision extant plays and operas. Following a detailed analysis of Lepage's adaptive process and its place in the continuum of scenic writing and auteur theatre, this book features four case studies charting the role of Lepage's scenographic dramaturgy in re-'writing' extant texts, including Shakespeare's Tempest on Huron-Wendat territory, Stravinsky's Nightingale in a twenty-seven ton pool, and Wagner's Ring cycle via the infamous, sixteen-million-dollar Metropolitan Opera production. The final case study offers the first interrogation of Lepage's twenty-first century 'auto-adaptations' of his own seminal texts, The Dragons' Trilogy and Needles & Opium. Though aimed at academic readers, this book will also appeal to practitioners given its focus on performance-making, adaptation and intercultural collaboration.

This book examines the processes of adaptation across a number of intriguing case studies and media.

This book examines contemporary approaches to adaptation in theatre through seventeen international case studies.

This book theorizes auteur Robert Lepage¿s scenography-based approach to adapting canonical texts. Lepage¿s technique is defined here as ¿scenographic dramaturgy¿, a process and product that de-privileges dramatic text and relies instead on evocative, visual performance and intercultural collaboration to re-envision extant plays and operas. Following a detailed analysis of Lepage¿s adaptive process and its place in the continuum of scenic writing and auteur theatre, this book features four case studies charting the role of Lepage¿s scenographic dramaturgy in re-¿writing¿ extant texts, including Shakespeare¿s Tempest on Huron-Wendat territory, Stravinsky¿s Nightingale in a twenty-seven ton pool, and Wagner¿s Ring cycle via the infamous, sixteen-million-dollar Metropolitan Opera production. The final case study offers the first interrogation of Lepage¿s twenty-first century ¿auto-adaptations¿ of his own seminal texts, The Dragons¿ Trilogy and Needles & Opium. Though aimed at academic readers, this book will also appeal to practitioners given its focus on performance-making, adaptation and intercultural collaboration.

This book investigates the development of Sherlock Holmes adaptations in British theatre since the turn of the millennium.

This book examines British playwrights' responses to the work of Shakespeare and his contemporaries since 1945, from Tom Stoppard's Rosencrantz and Guildenstern are Dead to Sarah Kane¿s Blasted and Jez Butterworth¿s Jerusalem. Using the work of Julie Sanders and others working in the fields of Adaptation Studies and intertextual criticism, it argues that this relatively neglected area of drama, widely considered to be adaptation, should instead be considered as appropriation - as work that often mounts challenges to the ideologies and orthodoxies within Elizabethan and Jacobean drama, and questions the legitimacy and cultural authority of Shakespeare¿s legacy. The book discusses the work of Howard Barker, Peter Barnes, Edward Bond, Howard Brenton, David Edgar, Elaine Feinstein and the Women¿s Theatre Group, David Greig, Sarah Kane, Dennis Kelly, Bernard Kopps, Charles Marowitz, Julia Pascal and Arnold Wesker.

This book examines contemporary approaches to adaptation in theatre through seventeen international case studies.

The book discusses five British and Irish playwrights and their current adaptations, examining well-known dramatists such as Martin McDonagh, Sarah Kane and Brian Friel, while analysing some of their less well-known plays, offering a novel examination of the adaptation process.

This book examines the radical reinterpretation of precursor texts and prompts as an innovative form of adaptation for the stage. This volume considers a range of case studies, from the work of Alexandru Tocilescu to Rimini Protokoll, and is vital reading for those interested in adaptation studies and forms of contemporary theatre practice.