This book examines the processes of adaptation across a number of intriguing case studies and media. Turning its attention from the 'what' to the 'how' of adaptation, it serves to re-situate the discourse of adaptation studies, moving away from the hypotheses that used to haunt it, such as fidelity, to questions of how texts, authors and other creative practitioners (always understood as a plurality) engage in dialogue with one another across cultures, media, languages, genders and time itself. With fifteen chapters across fields including fine art and theory, drama and theatre, and television, this interdisciplinary volume considers adaptation across the creative and performance arts, with a single focus on the collaborative.
| Introduction |
|
1 | (18) |
|
|
|
|
|
|
|
Conversations with the Dead I |
|
|
|
Collaborating with the Dead: Adapters as Secret Agents |
|
|
19 | (20) |
|
|
|
Adaptation: Drama and Theatre |
|
|
|
Playing `The Maids': Devising An Adaptation---Collaboration And The Actor's Process |
|
|
39 | (28) |
|
|
|
The Not-So-Singular Life of Albert Nobbs |
|
|
67 | (16) |
|
|
|
Adaptation, Devising and Collective Creation: Tracing Histories of Pat McCabe's The Butcher Boy on Stage |
|
|
83 | (24) |
|
|
|
Adaptation: Literature and Screen |
|
|
|
The Alien World of Objects: Stanley Kubrick's The Killing |
|
|
107 | (18) |
|
|
|
Adapting History in the Docupoetry of Lorna Dee Cervantes and Script Poems of Danez Smith and Claudia Rankine |
|
|
125 | (22) |
|
|
|
"His world had vanished long before he entered it": Wes Anderson's Homage to Stefan Zweig |
|
|
147 | (22) |
|
|
|
Adaptation: Screen and Politics |
|
|
|
Collaborative Art with Political Intent: The 1933 Adaptation of Theodor Storm's Der Schimmelreiter/The Rider on the White Horse (1888) |
|
|
169 | (24) |
|
|
|
Adapting Hein's Willenbrock: Andreas Dresen and the Legacy of the GDR `Ensemble' Tradition |
|
|
193 | (24) |
|
|
|
Adaptation: Screen, Fine Art and Theory |
|
|
|
Same Player, Shoot Again: Gela Babluani's 13 (Tzameti), Transnational Auto-Remakes, and Collaboration |
|
|
217 | (22) |
|
|
|
Anselm Kiefer's Signature: Or---Adapting God |
|
|
239 | (22) |
|
|
|
|
|
|
Adaptation as Arguing with the Past: The Case of Sherlock |
|
|
261 | (18) |
|
|
|
The Prestige Novelisation of the Contemporary Television Series: David Hewson's The Killing |
|
|
279 | (18) |
|
|
|
Conversations with the Dead II |
|
|
|
Things You Can Do to an Author When He's Dead: Literary Prosthetics and the Example of Heinrich von Kleist |
|
|
297 | (26) |
|
|
|
Collaborating with the Dead, Playing the Shakespeare Archive; Or, How to Avoid Being Pushed from Our Stools |
|
|
323 | (46) |
|
|
| Index |
|
369 | |
Bernadette Cronin is an actor and theatre practitioner-researcher who co-founded Gaitkrash Theatre Company in 2007 to make experimental theatre work at the intersection between art forms. She teaches in the Department of Theatre at University College Cork, Ireland and her research focuses mainly on adapting and devising.
Rachel MagShamhrįin is Lecturer in German Studies at University College Cork, Ireland. Her research looks at appropriation adoptions, borrowings, thefts, re-purposing and retellings across media, languages and genders and concentrates on the German author Heinrich von Kleist.
Nikolai Jan Preuschoff teaches German at NYU Berlin and Literary Studies at the University of Erfurt. Germany. He is the author of Mit Walter Benjamin: Melancholie, Geschichte und Erzählen bei W.G. Sebald (2016) and is currently working on a postdoctoral project on poetics and modesty.
