When first released in 1975, Salò or the 120 Days of Sodom, directed by the already-notorious Italian director Pier Paolo Pasolini, aroused instant controversy. As a framework for its plot, Salò took the infamous 500-page novel by the Marquis de Sade, 120 Days of Sodom. In de Sade’s novel, four libertines, President de Curval, the Duc de Blangis, Durcet and the Bishop of X, sign a contract whose main clause is commitment to breaking as many taboos as they can possibly think of. With sixteen youths, eight girls and eight boys, servants, guards and four procurers and ex-prostitutes, the libertines isolate themselves in a remote chateau to re-enact their every fantasy. Filming Salò, Pasolini’s goal was to remain faithful to Sade’s novel. The characters, events and structure of the story remain the same. The more controversial aspect of the film, however, was Pasolini’s idea of relocating Sade’s novel into the actual historical context of the fascist Republic of Salò. For Pasolini, the gesture of moving Sade to Salò was to draw an actual analogy between the fascism and sadism. For some critics, the parallel between fascism and sadism was unfortunate exactly because it presented fascism, a real and palpable phenomenon, as an abstraction (the way that Sade’s world functions).
{"title":"The theatre of cruelty and the limits of representation: Sade/Salò","authors":"Magda Romanska","doi":"10.1386/JAFP_00031_1","DOIUrl":"https://doi.org/10.1386/JAFP_00031_1","url":null,"abstract":"When first released in 1975, Salò or the 120 Days of Sodom, directed by the already-notorious Italian director Pier Paolo Pasolini, aroused instant controversy. As a framework for its plot, Salò took the infamous 500-page novel by the Marquis de Sade, 120 Days of Sodom. In de Sade’s novel, four libertines, President de Curval, the Duc de Blangis, Durcet and the Bishop of X, sign a contract whose main clause is commitment to breaking as many taboos as they can possibly think of. With sixteen youths, eight girls and eight boys, servants, guards and four procurers and ex-prostitutes, the libertines isolate themselves in a remote chateau to re-enact their every fantasy. Filming Salò, Pasolini’s goal was to remain faithful to Sade’s novel. The characters, events and structure of the story remain the same. The more controversial aspect of the film, however, was Pasolini’s idea of relocating Sade’s novel into the actual historical context of the fascist Republic of Salò. For Pasolini, the gesture of moving Sade to Salò was to draw an actual analogy between the fascism and sadism. For some critics, the parallel between fascism and sadism was unfortunate exactly because it presented fascism, a real and palpable phenomenon, as an abstraction (the way that Sade’s world functions).","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"71 1","pages":"259-284"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84601786","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article offers a critical reading of Desdemona (2012), a cross-cultural theatre adaptation of William Shakespeare’s Othello staged by American theatre and opera director Peter Sellars, with texts by African American Nobel laureate Toni Morrison and music and lyrics by Malian singer-songwriter Rokia Traoré. By drawing on early modern race studies and Marshall Sahlin’s notion of ‘mutuality of being’, the article discusses Morrison’s lyrical prose as well as Traoré’s songs and performance to show how they merge and amplify one another in Sellars’ meditative staging to jointly rearticulate early modern notions of race, kinship and family embedded in Othello. By questioning what lies dormant, unseen and unheard in the Shakespearean tragedy, Desdemona supplements it with what Imtiaz Habib has termed ‘imprints of the invisible’ and invites its readers and audiences to ponder the onset of European colonialism, the slave trade, colour-based racism and their global aftermath, positing theatre as a metaphor for other civic, shared spaces where honest conversations about race, gender and class inequalities can open up a path to healing and reconciliation.
{"title":"‘I was your slave’: Revisioning kinship in Toni Morrison and Rokia Traoré’s Desdemona","authors":"V. Rapetti","doi":"10.1386/JAFP_00030_1","DOIUrl":"https://doi.org/10.1386/JAFP_00030_1","url":null,"abstract":"This article offers a critical reading of Desdemona (2012), a cross-cultural theatre adaptation of William Shakespeare’s Othello staged by American theatre and opera director Peter Sellars, with texts by African American Nobel laureate Toni Morrison and music and lyrics by Malian singer-songwriter Rokia Traoré. By drawing on early modern race studies and Marshall Sahlin’s notion of ‘mutuality of being’, the article discusses Morrison’s lyrical prose as well as Traoré’s songs and performance to show how they merge and amplify one another in Sellars’ meditative staging to jointly rearticulate early modern notions of race, kinship and family embedded in Othello. By questioning what lies dormant, unseen and unheard in the Shakespearean tragedy, Desdemona supplements it with what Imtiaz Habib has termed ‘imprints of the invisible’ and invites its readers and audiences to ponder the onset of European colonialism, the slave trade, colour-based racism and their global aftermath, positing theatre as a metaphor for other civic, shared spaces where honest conversations about race, gender and class inequalities can open up a path to healing and reconciliation.","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"23 1","pages":"237-257"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89945802","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Rokia Traoré is a Malian singer, guitarist and composer, known worldwide for her artistic syncretism and political activism. Her distinctive style blends elements of traditional Malian music with blues, folk and rock to address contemporary geopolitical and humanitarian issues. She is the artistic director of Fondation Passerelle, a non-profit organization she founded in 2006 to support young African singers and musicians by offering them high-quality professional training and work opportunities in the music industry. In this interview, she discusses her experience as songwriter and performer in Desdemona (2012), a cross-cultural theatre adaptation of William Shakespeare’s Othello staged by American director Peter Sellars, with texts by African American Nobel Laureate Toni Morrison, sharing some intimate memories and elaborating freely on the role of performers and the importance of focused listening in live stage productions.
{"title":"Singing back to the Bard: A conversation on Desdemona with Rokia Traoré","authors":"V. Rapetti","doi":"10.1386/JAFP_00035_7","DOIUrl":"https://doi.org/10.1386/JAFP_00035_7","url":null,"abstract":"Rokia Traoré is a Malian singer, guitarist and composer, known worldwide for her artistic syncretism and political activism. Her distinctive style blends elements of traditional Malian music with blues, folk and rock to address contemporary geopolitical and humanitarian issues. She is the artistic director of Fondation Passerelle, a non-profit organization she founded in 2006 to support young African singers and musicians by offering them high-quality professional training and work opportunities in the music industry. In this interview, she discusses her experience as songwriter and performer in Desdemona (2012), a cross-cultural theatre adaptation of William Shakespeare’s Othello staged by American director Peter Sellars, with texts by African American Nobel Laureate Toni Morrison, sharing some intimate memories and elaborating freely on the role of performers and the importance of focused listening in live stage productions.","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"37 1","pages":"337-344"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73479204","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Among the numerous film adaptations of Anna Karenina, the 1935 version produced by David O. Selznick for Metro-Goldwyn-Mayer remains one of the most acclaimed and celebrated – undoubtedly owing to its high production values and the performance and ‘star presence’ of the legendary Greta Garbo. However, the film has also been criticized for distorting and simplifying Tolstoy’s literary classic. In this article, I focus on the process of transposing Anna Karenina into the Hollywood screen version, locating causes of the adaptation process in extra-textual factors. Specifically, I address the economic and industry discourse represented by the MGM studio and its house style; the censorship discourse represented by the Production Code Administration, Hollywood’s self-regulatory body headed by Joseph Breen; and the star discourse represented by Garbo. In the process, I identify and describe the industrial, economic and cultural determinants which brought about MGM’s version of Anna Karenina. At the same time, by perceiving Selznick, Breen and Garbo as co-authors of the film, I redefine and complicate the issue of authorship.
{"title":"Multiple authorship in Anna Karenina (1935): Adapting Tolstoy’s literary classic in the Hollywood studio era","authors":"Milan Hain","doi":"10.1386/JAFP_00028_1","DOIUrl":"https://doi.org/10.1386/JAFP_00028_1","url":null,"abstract":"Among the numerous film adaptations of Anna Karenina, the 1935 version produced by David O. Selznick for Metro-Goldwyn-Mayer remains one of the most acclaimed and celebrated – undoubtedly owing to its high production values and the performance and ‘star presence’ of the legendary Greta Garbo. However, the film has also been criticized for distorting and simplifying Tolstoy’s literary classic. In this article, I focus on the process of transposing Anna Karenina into the Hollywood screen version, locating causes of the adaptation process in extra-textual factors. Specifically, I address the economic and industry discourse represented by the MGM studio and its house style; the censorship discourse represented by the Production Code Administration, Hollywood’s self-regulatory body headed by Joseph Breen; and the star discourse represented by Garbo. In the process, I identify and describe the industrial, economic and cultural determinants which brought about MGM’s version of Anna Karenina. At the same time, by perceiving Selznick, Breen and Garbo as co-authors of the film, I redefine and complicate the issue of authorship.","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"35 1","pages":"203-222"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76618741","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Tina Benko is an American stage, screen and television actress who has steadily trodden the Broadway boards for twenty years while starring in films and TV series and teaching acting and movement in New York City. An intensely focused and versatile performer, Benko has played in a broad variety of genres, ranging from screwball and Shakespearean comedies to realistic Russian, Scandinavian and American plays. In this interview, she discusses the factors that attracted her to drama and theatre, her acting training and approach to character-building, and theatre as a space for healing and reconciliation as she experienced it while working in Desdemona (2012), a cross-cultural theatre adaptation of William Shakespeare’s Othello staged by American theatre and opera director Peter Sellars, with texts by African American Nobel Laureate Toni Morrison, and music and lyrics by Malian singer-songwriter Rokia Traoré.
{"title":"Channelling the dead: A conversation on Desdemona with Tina Benko","authors":"V. Rapetti","doi":"10.1386/JAFP_00033_7","DOIUrl":"https://doi.org/10.1386/JAFP_00033_7","url":null,"abstract":"Tina Benko is an American stage, screen and television actress who has steadily trodden the Broadway boards for twenty years while starring in films and TV series and teaching acting and movement in New York City. An intensely focused and versatile performer, Benko has played in a broad variety of genres, ranging from screwball and Shakespearean comedies to realistic Russian, Scandinavian and American plays. In this interview, she discusses the factors that attracted her to drama and theatre, her acting training and approach to character-building, and theatre as a space for healing and reconciliation as she experienced it while working in Desdemona (2012), a cross-cultural theatre adaptation of William Shakespeare’s Othello staged by American theatre and opera director Peter Sellars, with texts by African American Nobel Laureate Toni Morrison, and music and lyrics by Malian singer-songwriter Rokia Traoré.","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"54 1","pages":"305-318"},"PeriodicalIF":0.0,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85783622","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores and extends the capacity of the framework of inclusion and exclusion as adhered to and cultivated by the core of the field of adaptation studies. Investigating the focus on the textual, this article is a consideration of the role and position of the textual in the discourse of adaptation studies before considering three different types of adaptation in performance in Victorian Music Hall where the adaptation of the textual as well as the non-textual form a common base for a variety, if not majority, of performances. Considering popular performance outside of the confines of the theatre offers examples of adaptations based on textualities and those beyond textualities as well as a combination of the two. Examples analysed include the singer Marie Lloyd, who is probably most widely known as a Music Hall star outside of the confines of theatre history, the magician William Elsworth Robinson aka Chung Ling Soo and monkey-man Harvey Teasdale. Such opening-up of adaptation studies’ textual focus will subsequently allow a flexing, a keeping supple of any framework of inclusion and exclusion constructed.
{"title":"‘Variations on a scale’: British Music Hall and instances of adaptation as performance","authors":"K. Krebs","doi":"10.1386/jafp_00066_1","DOIUrl":"https://doi.org/10.1386/jafp_00066_1","url":null,"abstract":"This article explores and extends the capacity of the framework of inclusion and exclusion as adhered to and cultivated by the core of the field of adaptation studies. Investigating the focus on the textual, this article is a consideration of the role and position of the textual in\u0000 the discourse of adaptation studies before considering three different types of adaptation in performance in Victorian Music Hall where the adaptation of the textual as well as the non-textual form a common base for a variety, if not majority, of performances. Considering popular performance\u0000 outside of the confines of the theatre offers examples of adaptations based on textualities and those beyond textualities as well as a combination of the two. Examples analysed include the singer Marie Lloyd, who is probably most widely known as a Music Hall star outside of the confines of\u0000 theatre history, the magician William Elsworth Robinson aka Chung Ling Soo and monkey-man Harvey Teasdale. Such opening-up of adaptation studies’ textual focus will subsequently allow a flexing, a keeping supple of any framework of inclusion and exclusion constructed.","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"33 1-2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-05-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72492832","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines Claude Jutra’s 1981 film adaptation of Margaret Atwood’s Surfacing in terms of its focus on female body, voyeurism and paranoia. The psychoanalytic perspective of the feminist film theory, with its emphasis on visual pleasure, narcissism, the male gaze, scopophilia, fetishization of the female, the oedipal nature of the narrative and female subjectivity, provides a pragmatic groundwork for the theoretical underpinning of this study. In the same way, the film apparatus, such as editing and camera work, provides a semiotic impetus to the spectator to identify with the perfect male, and not with the distorted female. With its focus on various scenes, generic codes and aspects of the film, the paper furthermore sees how Jutra’s production validates the prejudices of the classical film narrative in the context of the female image, sexual difference, female desire and stereotyped female paranoia. Despite its narrative focus on the quest of a female protagonist, Jutra’s film conforms to the traditional model of the classical cinema wherein the woman is no more than a signifier ‐ an entity that signifies things in relation to men only.
{"title":"Claude Jutra’s Surfacing (1981) through visual spectacles: Framing female body, voyeurism and paranoia","authors":"Nausheen Ishaque, Saba Riaz","doi":"10.1386/jafp_00020_1","DOIUrl":"https://doi.org/10.1386/jafp_00020_1","url":null,"abstract":"This article examines Claude Jutra’s 1981 film adaptation of Margaret Atwood’s Surfacing in terms of its focus on female body, voyeurism and paranoia. The psychoanalytic perspective of the feminist film theory, with its emphasis on visual pleasure, narcissism, the\u0000 male gaze, scopophilia, fetishization of the female, the oedipal nature of the narrative and female subjectivity, provides a pragmatic groundwork for the theoretical underpinning of this study. In the same way, the film apparatus, such as editing and camera work, provides a semiotic impetus\u0000 to the spectator to identify with the perfect male, and not with the distorted female. With its focus on various scenes, generic codes and aspects of the film, the paper furthermore sees how Jutra’s production validates the prejudices of the classical film narrative in the context of\u0000 the female image, sexual difference, female desire and stereotyped female paranoia. Despite its narrative focus on the quest of a female protagonist, Jutra’s film conforms to the traditional model of the classical cinema wherein the woman is no more than a signifier ‐ an entity\u0000 that signifies things in relation to men only.","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"108 1","pages":"111-120"},"PeriodicalIF":0.0,"publicationDate":"2020-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76410172","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Hong Kong Theatre director Edward Lam has established close association with an ensemble of Taiwanese actors, collaborating on almost every production since Madame Bovary is Me (Baofali furen men, 2006) and touring to Taiwan, Hong Kong and Mainland China. This article examines Lam’s unique working pattern through the analysis of Art School Musical (Successors to Liang and Zhu, Liang Zhu de jichengzhe men, 2014), the 54th production by the Edward Lam Dance Theatre (ELDT). Inspired by the famous Chinese legend The Butterfly Lovers (Liang Shanbo yu Zhu Yingtai), Lam created a postdramatic musical as a Bildungsroman in a format of classroom drama. The love story underwent a poetic transformation through the lyrics and music. The ELDT version of the Liang-Zhu legend carries Lam’s criticism of the stereotypes assigned to young people in patriarchal societies and allows him to elevate the love story into an allegory of one’s quest for the meaning of life.
{"title":"Revitalising the Liang-Zhu legend: Edward Lam Dance Theatre’s postdramatic Art School Musical (2014)1","authors":"Li Liang","doi":"10.1386/jafp_00022_1","DOIUrl":"https://doi.org/10.1386/jafp_00022_1","url":null,"abstract":"Hong Kong Theatre director Edward Lam has established close association with an ensemble of Taiwanese actors, collaborating on almost every production since Madame Bovary is Me (Baofali furen men, 2006) and touring to Taiwan, Hong Kong and Mainland China. This article\u0000 examines Lam’s unique working pattern through the analysis of Art School Musical (Successors to Liang and Zhu, Liang Zhu de jichengzhe men, 2014), the 54th production by the Edward Lam Dance Theatre (ELDT). Inspired by the famous Chinese legend The Butterfly Lovers\u0000 (Liang Shanbo yu Zhu Yingtai), Lam created a postdramatic musical as a Bildungsroman in a format of classroom drama. The love story underwent a poetic transformation through the lyrics and music. The ELDT version of the Liang-Zhu legend carries Lam’s criticism of the stereotypes\u0000 assigned to young people in patriarchal societies and allows him to elevate the love story into an allegory of one’s quest for the meaning of life.","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"45 1","pages":"135-148"},"PeriodicalIF":0.0,"publicationDate":"2020-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73045706","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
While entertainment franchises are usually not associated with engaging in adaptive work in the traditional sense of the term, the sheer necessity of creating new material for serialised properties makes adaptive work a necessity. Frequently, franchises will absorb other material, an aspect that has so far been neglected in studies of what Simone Murray calls the ‘adaptation industry’. This article discusses two entertainment properties that made a habit of lapping up cinematic trends and other properties in order to feed their appetite as ‘hungry franchises’: the Thin Man series (1934‐47) and the Pink Panther films (1963‐2009). They exhibit similar adaptive strategies to reconcile contemporary audience expectations and industrial trends with their needs as profitable studio properties. In the process, they also show somewhat Frankenstein-like tendencies towards monstrosity, eventually turning against their own creators.
{"title":"How The Pink Panther came alive and how The Thin Man grew fatter: Hungry franchises and the adaptation industry","authors":"Wieland Schwanebeck","doi":"10.1386/jafp_00023_1","DOIUrl":"https://doi.org/10.1386/jafp_00023_1","url":null,"abstract":"While entertainment franchises are usually not associated with engaging in adaptive work in the traditional sense of the term, the sheer necessity of creating new material for serialised properties makes adaptive work a necessity. Frequently, franchises will absorb other material, an\u0000 aspect that has so far been neglected in studies of what Simone Murray calls the ‘adaptation industry’. This article discusses two entertainment properties that made a habit of lapping up cinematic trends and other properties in order to feed their appetite as ‘hungry franchises’:\u0000 the Thin Man series (1934‐47) and the Pink Panther films (1963‐2009). They exhibit similar adaptive strategies to reconcile contemporary audience expectations and industrial trends with their needs as profitable studio properties. In the process, they also show\u0000 somewhat Frankenstein-like tendencies towards monstrosity, eventually turning against their own creators.","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"74 1","pages":"149-162"},"PeriodicalIF":0.0,"publicationDate":"2020-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85401134","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 2018, Efi Birba offered the Greek public a different theatrical version of the famous Cervantes’ novel, Don Quixote. Exclusively profiting the storytelling dynamic of the body, she used playing as the main tool of the literary interpretation and meaningfulness. Her directorial choices removed her from the concept of theatrical adaptation and introduced her into the field of metanarration. In this article, I explore the dramaturgical rhetoric of the performance and the narrative devices being used in. Highlighting the concept of ‘play’ as the main technique, I point out the performative flow as a non-verbal field where the body may not just represent or tell a story, but actually be that story and shift it from one level to another. Questions about corporeal awareness, timing and spatiality are raised, as well as questions about the metanarrative potential of a corporeal performance to translate literary meanings and deepen into allegorical insights and symbolisms.
{"title":"A theatrical metanarrative of Cervantes’ Don Quixote: Dramaturgy, corporeality and play","authors":"Olga Kakosimou","doi":"10.1386/jafp_00021_1","DOIUrl":"https://doi.org/10.1386/jafp_00021_1","url":null,"abstract":"In 2018, Efi Birba offered the Greek public a different theatrical version of the famous Cervantes’ novel, Don Quixote. Exclusively profiting the storytelling dynamic of the body, she used playing as the main tool of the literary interpretation and meaningfulness. Her directorial\u0000 choices removed her from the concept of theatrical adaptation and introduced her into the field of metanarration. In this article, I explore the dramaturgical rhetoric of the performance and the narrative devices being used in. Highlighting the concept of ‘play’ as the main technique,\u0000 I point out the performative flow as a non-verbal field where the body may not just represent or tell a story, but actually be that story and shift it from one level to another. Questions about corporeal awareness, timing and spatiality are raised, as well as questions about the metanarrative\u0000 potential of a corporeal performance to translate literary meanings and deepen into allegorical insights and symbolisms.","PeriodicalId":41019,"journal":{"name":"Journal of Adaptation in Film & Performance","volume":"75 1","pages":"121-134"},"PeriodicalIF":0.0,"publicationDate":"2020-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84012418","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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