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Radical revival as adaptation [electronic resource] : theatre, politics, society / Jozefina Komporaly.

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This book examines the radical reinterpretation of precursor texts and prompts as an innovative form of adaptation for the stage. In this context, stage adaptations are defined as active and risk-taking interventions on pre-existing sources, dramatic and otherwise, that can range from single-authore...

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Bibliographic Details
Online Access: Full Text (via Springer)
Main Author: Komporaly, Jozefina, 1969-
Format: Electronic eBook
Language:English
Published: London : Palgrave Macmillan, [2017]
Series:Adaptation in theatre and performance.
Subjects:
Literature > Adaptations > History and criticism.
Drama > Adaptations > History and criticism.
Stage adaptations > History and criticism.
Theater > Production and direction.
Drama > Adaptations.
Literature > Adaptations.
Stage adaptations.
Criticism, interpretation, etc.
Table of Contents:
  • Foreword
  • Acknowledgements
  • Contents
  • List of Figures
  • Chapter 1 Introduction
  • 1.1 The Missing Chapter: Archetypes, Conflicts, Mythologiesâ#x80;#x94;Contemporary Adaptations from the Greeks
  • Chapter 2 Adaptive Recontextualisations: Hamlet for the Here and Now, or Reappropriating the Canon
  • 2.1 Why Recontextualise and Why Hamlet?
  • 2.2 Shakespeare and Censorship: Alexandru Tocilescuâ#x80;#x99;s Anti-Communist Hamlet
  • 2.3 A Hamlet for the Third Millennium: Tantrums and Disaffection at the SchaubÃơhne (2008)
  • 2.4 Conclusions.
  • Chapter 3 Re-Theatricalising the Canon: Silviu PurcÄ#x83;reteâ#x80;#x99;s Faust and Julius Caesar3.1 PurcÄ#x83;rete in Context
  • 3.2 Faust: Directorial Poetics on a Monumental Scale
  • 3.3 Condensing the Dramatic Text in Julius Caesar
  • Chapter 4 Adaptation as Experiential Theatre: Immersion and the Dramaturgy of Fragmentation (The Drowned Man, Hotel Medea)
  • 4.1 Stage Adaptation as Analogy, Risk-taking and Experiential Reinvention
  • 4.2 Punchdrunkâ#x80;#x99;s The Drowned Man: Navigating a Fragmented Landscape
  • 4.3 Dramaturgies of Care and Participation: Hotel Medea.
  • Chapter 5 Adaptation as Remediation and Collaborative Practice (Elevator Repair Service, Frantic Assembly)5.1 Collaboration and Ensemble Practice
  • 5.2 Adaptation Between Media: Elevator Repair Serviceâ#x80;#x99;s Gatz
  • 5.3 Frantic Assemblyâ#x80;#x99;s Othello: Adapting for Movement and Music
  • Chapter 6 Adaptation at the Crossroads: Cultural Syncretism and Multimodality in Performance (ZU-UK, Pansori Project ZA)
  • 6.1 Crossing Cultures: Context and Terminology
  • 6.2 Hotel Medea as Re-Enactment and Syncretic Performance
  • 6.3 Pansori Project ZA: Asianizing European Drama.
  • 6.4 Adaptation as Collaboration Across Cultures: Pansorizing Dantonâ#x80;#x99;s DeathChapter 7 Adapting the Non-adaptable: Rimini Protokollâ#x80;#x99;s Das Kapital and Mein Kampf
  • 7.1 The Limits of Adaptation
  • 7.2 What is a Dramatic Text? Karl Marx: Das Kapital, Erster Band as a Response
  • 7.3 Questions of Recycling and Re-focalisation: Adolf Hitler: Mein Kampf, Band 1 2
  • Chapter 8 Conclusions
  • Bibliography.

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