Jane Barnette – författare

Dramaturg Jane Barnette has put together an essential guide for theatre scholars and practitioners seeking to understand and participate in the process of adaptation for the stage. Employing the term “adapturgy” – her neologism for the art of adaptation dramaturgy – Barnette redefines the dramaturg’s role and thoroughly refutes the commonplace point of view that adapted works are somehow less creative than “original” plays.The dual nature of dramaturgy and adaptation as both process and product is reflected in the structure and organization of the book. Part 1 explores the ways that linking adaptation to dramaturgy advances our understanding of both practices. Part 2 demonstrates three different methods – each grounded in a detailed case study – for analyzing theatrical adaptations. Part 3 offers concrete strategies for the dramaturg: dramaturgy for the adapted script; the production dramaturgy of stage adaptations; and the role of the dramaturg in the postmortem for a production. Rounding out the book are two appendixes containing interviews with adapters and theatre-makers and representative program notes from different play adaptations.Plays adapted from literature and other media represent a rapidly growing segment in the theatre. Adapturgy: The Dramaturg's Art and Theatrical Adaptation offers both practical and theoretical tools for understanding and creating these new works.

A peer-reviewed journal of theatre history and scholarship published annually since 1981 by the Mid-America Theatre Conference

Witch Fulfillment: Adaptation Dramaturgy and Casting the Witch for Stage and Screen addresses the Witch as a theatrical type on twenty-first-century-North American stages and screens, seen through the lenses of casting, design, and adaptation, with attention paid to why these patterns persist, and what wishes they fulfil.Witch Fulfillment examines the Witch in performance, considering how actors embody iconic roles designated as witches (casting), and how dramaturgical choices (adaptation) heighten their witchy power. Through analysis of Witch characters ranging from Elphaba to Medea, classic plays such as The Crucible and Macbeth, feminist adaptations - including Sycorax, Obeah Opera, and Jen Silverman’s Witch - and popular culture offerings, like the Scarlet Witch and Jinkx Monsoon, this book examines the dramaturgical meanings of adapting and embodying witchy roles in the twenty-first century.This book contends that the Witch represents a crucial category of analysis for inclusive theatre and performance and will be of interest to theatre practitioners and designers, along with theatre, witchcraft, and occult studies scholars.