Author: cs2-admin

Patrice Pavis* La peintre contemporaine Lee Ok Kyoung a déjà à son actif une œuvre considérable dont la série « Homage to Danwon » n’est qu’une facette particulière dans une création très variée et ce, même au sein de l’exposition

Margherita Laera* I have just watched three children die at the hands of their parents, collapsing in their arms. Two were killed by their mother, Medea, and one by her father, Agamemnon. These acts of infanticide took place in London,

Frances Babbage* This essay examines how concerns and critiques around stories and storytelling might be used productively to reframe an understanding of theatrical retellings, in performance practice and in adaptation studies. Adaptations in the theatre need not, of course, be

Katja Krebs* We have all watched adaptations, whether on the small or big screen, as theatre, musical or opera. Some of us have chosen theatrical events because they are adaptations of texts we know, while some of us are not

Márta Minier* When discussing historical drama, biographical drama, documentary and verbatim theatre as architextually related types of drama, the concept of adaptation is not utilised often enough, though it is occasionally cited at least as a trope and, in rather

Yana Meerzon* In A Dead Man’s Memoir (A Theatrical Novel), Mikhail Bulgakov describes writing a novel as being possessed by one’s nightmares, a process of registering in words the world of fiction appearing in the author’s mind (6-7). He compares

Avra Sidiropoulou* A classic is a work which persists as background noise, even when a present that is totally incompatible with it holds sway. (Calvino 8) (Known) Writings and (New) Readings No literary work should ever really fear adaptation. New