Showing papers in "Journal of Adaptation in Film & Performance in 2009"
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TL;DR: Jacobs, E. as discussed by the authors, et al. (2009) Theatre on the Border in Cherrie Moraga's The Hungry Woman A Mexican Medea. Journal of Adaptation in Film & Performance 1, (3), pp. 177-189
Abstract: Jacobs, E. (2009) Theatre on the Border in Cherrie Moraga’s The Hungry Woman A Mexican Medea. Journal of Adaptation in Film & Performance 1, (3), pp. 177-189
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TL;DR: The translation of Kane's seminal work, Blasted as discussed by the authors, into Brazilian Portuguese has been discussed in detail in an analysis of the process so far, from the early impulse to translate, through discussions with the director and actor/producer, and the thoughts and doubts that have plagued me since.
Abstract: An analysis of my current practice, this article explores some of the issues surrounding the translation of Sarah Kane's seminal work, Blasted ([1995] 2001), into Brazilian Portuguese. It is an account of the process so far, from the early impulse to translate, through discussions with the director and actor/producer, and the thoughts and doubts that have plagued me since. A fundamental concern relates to the possibility or need to adapt the setting to a Brazilian (and specifically a Rio de Janeiro) context the problem Hale and Upton (2007) have called the dilemma over foreignization or domestication (2000: 7) and the implications of that adaptation. As tensions between the specific and the universal are dislocated, do they also become diluted? Even if the setting remains the same, are not the contingencies of production (accents, knowledge of a particular actor, even the theatre building itself) necessarily relocating an audience's theatrical experience? Where should, then, be the locus of this displacement? In the translation, the production, the performances?
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TL;DR: This paper argued for the critical value of performance in altering perceptions of Restoration adaptations of Shakespeare, and discussed the application of theoretical approaches to the revival of historically distant plays, such as The Tempest.
Abstract: This article is based on a recent revival of Davenant and Dryden's The Tempest; or, The Enchanted Island at the University of Hull, UK. It argues for the critical value of performance in altering perceptions of Restoration adaptations of Shakespeare and discusses the application of theoretical approaches to the revival of historically distant plays.
TL;DR: Carroll, R. as discussed by the authors, 2009, 'Queer beauty: illness, illegitimacy and visibility in Dickens's Bleak House and its 2005 BBC adaptation', Journal of Adaptation in Film & Performance, 2 (1), pp. 5-18.
Abstract: Reprint of Carroll, R. (2009) 'Queer beauty: illness, illegitimacy and visibility in Dickens's Bleak House and its 2005 BBC adaptation', Journal of Adaptation in Film & Performance, 2 (1), pp. 5-18.
TL;DR: In this paper, a new term "equivalence" has been used in fidelity criticism to adapt a term that has been frequently, though not exclusively, used in the field of fidelity criticism, to a new context.
Abstract: In publications and conference presentations concerning adaptation, it has been an accepted practice for at least a decade to commence with a derogation of fidelity criticism. This familiar rhetorical flourish, in which that mode of interpretation is castigated as moribund, logo-centric, and defensive of a putative literary canon, is now in danger of becoming as tiresome as the critical practice it condemns. Works by Cartmell and Whelehan, Hutcheon, Leitch, and Stam and Raengo inter alia have indeed successfully redrawn the field of adaptation studies: intertextuality; analyses of the endless intersections among filmic, literary, and other forms; and a move away from the privileging of literary source texts, have been among the notable features of this revolution. This present study seeks neither to recuperate fidelity criticism (in reputation, or as practice) nor to underplay the achievements of those scholars who have revivified the study of literature and/or film. Rather, it seeks to borrow and adapt a term that has been frequently, though not exclusively, used in fidelity criticism—“equivalence”—and to deploy it in a new context.
TL;DR: The authors discusses the Edinburgh Festival Fringe adaptation of Oscar Wilde's The Picture of Dorian Gray (1891) for the Edinburgh International Film Festival (EIFF) 2008, where Freud's concept of the uncanny (1919) was treated as a purely aesthetic phenomenon and related to late nineteenth century social and literary preoccupations such as Christianity, the supernatural and glamorous, criminal homosexuality.
Abstract: This article discusses my theatrical adaptation of Oscar Wilde's The Picture of Dorian Gray (1891) for the Edinburgh Festival Fringe (2008). Freud's concept of the uncanny (1919) was treated as a purely aesthetic phenomenon and related to late nineteenth century social and literary preoccupations such as Christianity, the supernatural and glamorous, criminal homosexuality. These considerations led to a conceptual ground plan that allowed for experiments during rehearsal in a form of theatrical shorthand.