Books in the Adaptation in Theatre and Performance series

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