Adapturgy: The Dramaturg's Art and Theatrical Adaptation by Jane Barnette

2020 ◽  
Vol 30 (2) ◽  
pp. 138-141
Author(s):  
Lindsay Cummings
Keyword(s):  
Theatrical Adaptation

Great Expectations

2008 ◽  
Author(s):  
Charles Dickens ◽  
Robert Douglas-Fairhurst
Keyword(s):  
Great Expectations ◽  
The Past ◽  
Theatrical Adaptation

‘You are to understand, Mr. Pip, that the name of the person who is your liberal benefactor remains a profound secret.’ Young Pip lives with his sister and her husband the blacksmith, with few prospects for advancement until a mysterious benefaction takes him from the Kent marshes to London. Pip is haunted by figures from his past - the escaped convict Magwitch, the time-withered Miss Havisham and her proud and beautiful ward, Estella - and in time uncovers not just the origins of his great expectations but the mystery of his own heart. A powerful and moving novel, Great Expectations is suffused with Dickens’s memories of the past and its grip on the present, and it raises disturbing questions about the extent to which individuals affect each other’s lives. This edition includes a lively introduction, Dickens’s working notes, the novel’s original ending, and an extract from an early theatrical adaptation. It reprints the definitive Clarendon text.

Ẹnu dùn ń rò’fọ́…: Theatre design, audience cognition and dramatic adaptation of Fagunwa’s texts

2020 ◽  
Vol 13 (3) ◽  
pp. 185-202 ◽  
Author(s):  
Michael Aderemi Adeoye
Keyword(s):  
Participant Observation ◽  
Text Design ◽  
Theatre Design ◽  
Vegetable Soup ◽  
Ethnographic Approach ◽  
Theoretical Structure ◽  
Theatrical Adaptation ◽  
Stage Performance ◽  
Technical Challenges ◽  
Analysis Of Performance

The stage performance of Langbodo, a play, which Nigerian dramatist Wale Ogunyemi adapted from Soyinka’s The Forest of a Thousand Daemons, which, in turn, is a translation of D. O. Fagunwa’s prose, Ògbójú Ọdẹ Nínú Igbó Irúnmalẹ̀. 'The bold hunter in the daemon-infested forest', exposed the limitation of the text as a bearer of meaning in the theatrical adaptation context. The limitation is analysed in this work to justify the centrality of adaptation in bridging the text-design-audience semiotic gap. This study examines the technical challenges of theatre design in D. O. Fagunwa’s works resulting from their adaptation as drama. The Yoruba apothegmatic idiom, Ẹnu ‘dùn ń rò’fọ́, agada ọwọ́ ṣeé ṣán’ko (which means, literally, that ‘vegetable soup can be prepared orally if a mere hand suffices for a cutlass’), a traditional derision for the inadequacies of the text, and the Barthesian notion of intertextuality serve as a dual theoretical structure in this study. A combination of methodologies including participant observation and ethnographic approach suffice for the retrieval and analysis of performance materials, respectively. Therefore, the study contends that the process of stage adaptation in Wale Ogunyemi’s play, Langbodo, used the technical contributions of theatre design, as a catalyst for connecting Fagunwa’s ideas to the final audience.

scholarly journals Conveyance of the Dramatic Work El Gran Galeoto by José Echegaray to the European Scene and His Reception in Bratislava at the End of the 19th Century

2018 ◽  
Vol 66 (4) ◽  
pp. 335-347
Author(s):  
Jana Laslavíková ◽  
Beatriz Gómez-Pablos Calvo
Keyword(s):  
20Th Century ◽  
19Th Century ◽  
Similar Theme ◽  
Theatrical Adaptation ◽  
European Theatre ◽  
One Year ◽  
The 19Th Century ◽  
Jose Echegaray

Abstract This study looks at the work of Spanish playwright José Echegaray and the circumstances of his domestication on the European theatre stages at the turn of the 20th century. One of his most important works, El gran Galeoto55, arrived in Bratislava in 1889, only one year after its premiere in Vienna and three years after the opening of the new building of the Bratislava City Theatre. The premiere of the work, translated into German and in a theatrical adaptation from Paul Lindau’s pen named Galeotto took place around the same time as the premiere of the work Ralph William from the domestic author Josef Julian, which thanks to a similar theme was perceived as «Bratislava’s Galeotto».

Oyono in Arabic

PMLA ◽  
2013 ◽  
Vol 128 (1) ◽  
pp. 127-132 ◽  
Author(s):  
Waïl S. Hassan
Keyword(s):  
English Translation ◽  
Arabic Version ◽  
Theatrical Adaptation ◽  
The 1960S ◽  
The University

A rendition by nayif kharma of michael etherton's theatrical adaptation of john reed's english translation, the arabic version of Ferdinand Oyono's novel Une vie de boy is at three removes from the original French. Under the title Al-khādim (“The Servant”), the play appeared in 1982 in the series Min al-masrah al-'ālami (“From World Theater”), published by Kuwait's Ministry of Culture. Since to all effects and purposes Etherton's theatrical adaptation is Kharma's original, it is necessary to begin by describing how the Zambian-born British writer who taught drama at the University of Zambia in the 1960s adapted his source, Reed's Houseboy, before discussing how the play was later Arabized.

The immorality of French novels

2017 ◽  
Author(s):  
Juliette Atkinson
Keyword(s):  
Reading Public ◽  
Theatrical Adaptation

Anxieties about immorality were rarely far from discussion of French novels. However, contemporary notions of ‘immorality’ were far more unstable than has often been suggested. The chapter begins by reconsidering Croker’s infamous 1836 article ‘French Novels’ in the light of its French reception, which indicates that Croker was often in sympathy with, rather than opposed to, French critics. Writers such as Croker hoped that readers would police themselves, but the correspondence between Elizabeth Barrett and Mary Russell Mitford reveals a far more playful understanding of immorality. The pair claimed the notion for themselves, and in doing so developed a sense of their own sophistication. They were not alone in ignoring contemporary warnings: the furore surrounding Dumas fils’sLa Dame aux caméllias and the censorship of its theatrical adaptation demonstrated the inconsistencies of, and limits to, censorship, and hinted at the hypocritical conduct of the Victorian reading public.

Problèmes de l'adaptation et de la traduction française de Lanke Omu (Omuti) de Kola Ogunmola

Babel ◽  
1992 ◽  
Vol 38 (2) ◽  
pp. 101-108
Author(s):  
Jide Timothy-Asobele
Keyword(s):  
Oral Tradition ◽  
French Translation ◽  
French Version ◽  
Palm Wine ◽  
Raymond Queneau ◽  
Pan African ◽  
Silver Medal ◽  
Theatrical Adaptation

Omuti is a theatrical adaptation of Amos Tutuola's work titled: The Palmwine Drinkard and His Dead Palm-wine Tapster in the Dead's Town, published in London by Faber and Faber in 1952. A year after, in 1953, a French translator, Raymond Queneau translated it into French with the title LTvrogne dans la brousse. Many long essays, theses and articles in learned journals have been devoted to this work. In addition to all this literary fortune, Kola Ogunmola, adapted it for the stage in 1962. During the 1969 Pan-African Festival of Arts in Algiers, in Algeria, the adapted play won a Silver medal for theatre. This was one of the major reasons why we translated this work into French in 1982. We encountered many problems during the translation of Omuti, the least of which are, how to render the "Longish" title into a short one, the difficulty in establishing grammatical and semantic equivalents between the Yoruba original and the French translation. Certain linguistic habits that belong to the Oral tradition of the Yoruba people, such as the use of riddles, proverbs, talking drum register etc. made the French version difficult to work on. But there is communication in spite of all the above linguistic and cultural problems.

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