{"id":47,"date":"2015-12-21T18:54:34","date_gmt":"2015-12-21T18:54:34","guid":{"rendered":"http:\/\/cs2.enl.auth.gr\/12\/?page_id=47"},"modified":"2022-02-05T08:02:16","modified_gmt":"2022-02-05T08:02:16","slug":"special-topics-adaptation","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/12\/special-topics-adaptation\/","title":{"rendered":"Special Topic: Adaptation"},"content":{"rendered":"

Adaptation<\/a><\/p>\n

Section Guest Editor: Patrice Pavis<\/strong> (France)*<\/a><\/p>\n

\"\"<\/p>\n

Adaptation is everywhere. The word achieves its meaning: to transform one thing into another.<\/p>\n

Critical Stages\/Sc\u00e8nes Critiques<\/em> asked a small number of experts on the concept of theatrical adaptation to be a little bit more specific on the basis of their own understanding of the phenomenon\u2014by giving some unique examples of adaptation the way it is observed nowadays. Renouncing\u2014for the moment?\u2014a very problematic general theory of adaptation, we hope, more modestly, to support our thesis with concrete examples and multiple contexts, i.e. genres (theatre, literature, painting).<\/p>\n

One thing is certain: each one of my invited writers is an authority in her domain; she adapts to the complexity of the theatrical experiences as much as theatre itself adapts under her gaze.<\/p>\n

\n

<\/a>*Patrice Pavis<\/strong> is professor at the School of Arts, University of Kent. Latest book: Dictionnaire de la performance et du th\u00e9\u00e2tre contemporain<\/em> (Armand Colin, 2014). English translation forthcoming by Routledge, 2016.<\/p>\n

\n
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Mise-en-Sc\u00e8ne as Adaptation<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

Michael Chekhov\u2019s Theatre Theory and Pedagogy of Theatre Adaptation<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

Interdisciplinary Considerations about a Subgenre of the Contemporary Biographical Drama: Celebrity and Fandom in Recent Adaptations of Famous Lives for the Stage<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

Adaptation as (Re)watching<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

Adaptation and Storytelling in the Theatre<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

On Killing Children: Greek Tragedies on British Stages in 2015<\/a><\/h4><\/div><\/div>\n
\"\"<\/a>\n

Peindre et repeindre l\u2019\u0153uvre classique de Danwon: th\u00e9\u00e2tralit\u00e9 et performance chez Lee Ok Kyoung<\/a><\/h4><\/div><\/div><\/div><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"

Adaptation Section Guest Editor: Patrice Pavis (France)* Adaptation is everywhere. The word achieves its meaning: to transform one thing into another. Critical Stages\/Sc\u00e8nes Critiques asked a small number of experts on the concept of theatrical adaptation to be a little<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"jetpack_post_was_ever_published":false,"footnotes":""},"class_list":["post-47","page","type-page","status-publish","hentry","","tg-column-two"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P9xLnm-L","_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/12\/wp-json\/wp\/v2\/pages\/47","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/12\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.critical-stages.org\/12\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/12\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/12\/wp-json\/wp\/v2\/comments?post=47"}],"version-history":[{"count":2,"href":"https:\/\/www.critical-stages.org\/12\/wp-json\/wp\/v2\/pages\/47\/revisions"}],"predecessor-version":[{"id":947,"href":"https:\/\/www.critical-stages.org\/12\/wp-json\/wp\/v2\/pages\/47\/revisions\/947"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/12\/wp-json\/wp\/v2\/media?parent=47"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}