
Shakespeare and the Problem of Adaptation
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'This is a fine and productive book, one that will surely draw significant attention and commentary well beyond the precincts of Shakespeare studies.' - W.B. Worthen, Columbia University
Shakespeare's plays continue to be circulated on a massive scale in a variety of guises - as editions, performances, and adaptations - and it is by means of such mediation that we come to know his drama. Shakespeare and the Problem of Adaptation addresses fundamental questions about this process of mediation, making use of the fraught category of adaptation to explore how we currently understand the Shakespearean work. To adapt implies there exists something to alter, but what constitutes the category of the 'play', and how does it relate to adaptation? How do 'play' and 'adaptation' relate to drama's twin media, text and performance? What impact might answers to these questions have on current editorial, performance, and adaptation studies?
Margaret Jane Kidnie argues that 'play' and 'adaptation' are provisional categories - mutually dependent processes that evolve over time in accordance with the needs of users. This theoretical argument about the identity of works and the nature of text and performance is pursued in relation to diverse examples, including theatrical productions by the Royal Shakespeare Company, the BBC's ShakespeaRe-Told, the Reduced Shakespeare Company, and recent print editions of the complete works. These new readings build up a persuasive picture of the cultural and intellectual processes that determine how the authentically Shakespearean is distinguished from the fraudulent and adaptive. Adaptation thus emerges as the conceptually necessary but culturally problematic category that results from partial or occasional failures to recognize a shifting work in its textual-theatrical instance.
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Content
- Cover
- Title
- Copyright
- Dedication
- Contents
- List of illustrations
- Acknowledgements
- Introduction: the problem of adaptation
- 1 Surviving performance: Shakespeare's contested works
- Identifying the dramatic work in text and performance
- Shakespearean performance and/as interpretation
- Textual production
- Pragmatic adaptation
- 2 Defining the work through production, or what adaptation is not
- Recognizing Hamlet
- Recognizing the Royal Shakespeare Company
- 3 Entangled in the present: Shakespeare and the politics of production
- Writing the present, exorcizing the past: Djanet Sears' Harlem Duet
- Dancing with art: Robert Lepage's Elsinore
- 4 Adapting media: ShakespeaRe-Told by the BBC
- Strategies of appropriation: Shakespeare's 'divorce comedies'
- Writing Shakespeare's Macbeth for television
- Mediated proximities, or much ado about 'noting'
- (Re)Telling Dream, building digital Britain
- 5 Textual origins
- Notes
- Bibliography
- Index
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