We are proudly a Ukrainian website. Our country was attacked by Russian Armed Forces on Feb. 24, 2022.
You can support the Ukrainian Army by following the link: https://u24.gov.ua/.
Even the smallest donation is hugely appreciated!
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Contemporary play adaptation.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Contemporary play adaptation":
1
Eglinton, Mika. "Metamorphoses of “Shakespeare's Lost Play”: A Contemporary Japanese Adaptation ofCardenio." Shakespeare 7, no. 3 (September 2011): 335–43. http://dx.doi.org/10.1080/17450918.2011.589064.
Adam Versényi here considers responses to the call for a new kind of Latin American theatre, combining anthropological awareness of the area's history and culture with the technical abilities and thematic sophistication of western theatre, through an analysis of two plays which suggests both the benefits and pitfalls of such an approach. These are Nahui Ollin, a shadow-puppet play dramatizing episodes from Nahuatl cosmogeny, and Los enemigos, a contemporary adaptation of the unique Mayan script, the Rabinal Achí. Adam Versényi has written widely on the theatre of Latin America, including a study of recent developments in liberation theology and liberation theatre, and for NTQ two articles on earlier periods – in NTQ16 (1988), on the theatricality of pre-Columbian performance rituals, and in NTQ19 (1989) on the adaptation of Aztec rituals by the mendicant friars who came in the wake of Cortés – this piece being selected as the ‘Younger Scholar's Prizewinning Article’ of the year by the American Society for Theatre Research.
3
Klein, Emily. "Seductive Movements in Lysistrata and Spike Lee’s Chi-Raq: Activism, Adaptation, and Immersive Theatre in Film." Adaptation 13, no. 1 (April 19, 2019): 59–76. http://dx.doi.org/10.1093/adaptation/apz011.
Abstract This article investigates how Spike Lee’s 2015 Lysistrata adaptation, Chi-Raq, reaches beyond the screen—‘in excess’ of its medium—by using the techniques of immersive theatre to revive Aristophanes’ classical plot as well as his urgent call to citizenly collective action (McGowan, Todd. Spike Lee. Champaign, IL: University of Illinois Press, 2014). Lee’s seductive activist fairytale in rhyming verse imagines a worldwide sex strike led by Chicago’s women of colour. Like its Classical predecessor, the film both critiques and reinforces the spectacular objectification of female bodies; that tension is always in play, even as it successfully brings about a peace treaty between two warring Englewood gangs. To explore this and other socio-political tensions, Lee’s film employs many of the ‘physical, sensual and participatory’ elements that Josephine Machon understands as central to immersive performance (Machon, Josephine. Immersive Theatres: Intimacy and Immediacy in Contemporary Performance. London: Palgrave Macmillan, 2013. xv). Crucial to this immersive adaptation is Lee’s transgressive coordination of sight, touch, and sound to aptly update Lysistrata’s acts of refusal as deeply gendered and racialized calls for intimate justice. In effect, audiences learn, move, chant, yearn, and envision a better world alongside the characters in the film. As a result, the goals of Chi-Raq are achieved in ways that are both more compellingly relevant and more radical than any other contemporary Lysistrata adaptation in recent memory.
4
Sharif, Muhammad Muazzam, Zubair Shafiq, and Umtul Ayesha. "“For Murder, though have no Tongue, will Speak”, Hamlet Speaks for the Contemporary Problems around the Word." Global Social Sciences Review III, no. IV (December 30, 2018): 309–19. http://dx.doi.org/10.31703/gssr.2018(iii-iv).20.
People from different countries reshape and revise Hamlet to suit their situations and alter their personalities accordingly. Hamlet highlights issues in political, moral, social and cultural spheres of a country. Shakespeare’s Hamlet attracts the minds of readers to the extent that they establish a link with their unconscious minds; thus resulting in an empathetic connection between readers, characters and the adapters. This paper offers an analysis of the different adaptations of Shakespeare’s Hamlet in some countries. It delineates the link between Hamlet and its adaptations, particularly Haider –an Indian adaptation. This paper compares Hamlet and Haider and draws parallels between the two in order to highlight and address contemporary problems especially that of conflict between Pakistan and India over Kashmir. This paper talks about Haider that successfully created the desired impact which should be the purpose of an adapted play. Essentially qualitative in nature, this paper uses the lens of Linda Hutcheon –Theory of Adaptation- to conduct textual analysis.
5
Özmen, Özlem. "Identity and Gender Politics in Contemporary Shakespearean Rewriting." European Judaism 51, no. 2 (September 1, 2018): 196–204. http://dx.doi.org/10.3167/ej.2017.510226.
Julia Pascal’s The Yiddish Queen Lear, a dramatic adaptation of Shakespeare’s King Lear, merges racial identity politics with gender politics as the play both traces the history of the Yiddish theatre and offers a feminist criticism of Shakespeare’s text. The use of Lear as a source text for a play about Jews illustrates that contemporary Jewish engagements with Shakespeare are more varied than reinterpretations of The Merchant of Venice. Identity politics are employed in Pascal’s manifestation of the problematic relationship between Lear and his daughters in the form of a conflict between the play’s protagonist Esther, who struggles to preserve the tradition of the Yiddish theatre, and her daughters who prefer the American cabaret. Gender politics are also portrayed with Pascal’s use of a strong woman protagonist, which contributes to the feminist criticism of Lear as well as subverting the stereotypical representation of the domestic Jewish female figure in other dramatic texts.
6
Özmen, Özlem. "Identity and Gender Politics in Contemporary Shakespearean Rewriting." European Judaism 51, no. 2 (September 1, 2018): 196–204. http://dx.doi.org/10.3167/ej.2018.510226.
Abstract Julia Pascal’s The Yiddish Queen Lear, a dramatic adaptation of Shakespeare’s King Lear, merges racial identity politics with gender politics as the play both traces the history of the Yiddish theatre and offers a feminist criticism of Shakespeare’s text. The use of Lear as a source text for a play about Jews illustrates that contemporary Jewish engagements with Shakespeare are more varied than reinterpretations of The Merchant of Venice. Identity politics are employed in Pascal’s manifestation of the problematic relationship between Lear and his daughters in the form of a conflict between the play’s protagonist Esther, who struggles to preserve the tradition of the Yiddish theatre, and her daughters who prefer the American cabaret. Gender politics are also portrayed with Pascal’s use of a strong woman protagonist, which contributes to the feminist criticism of Lear as well as subverting the stereotypical representation of the domestic Jewish female figure in other dramatic texts.
7
Hamana, Emi. "This Is, and Is Not, Shakespeare: A Japanese-Korean Transformation of Othello." Revista Alicantina de Estudios Ingleses, no. 25 (November 15, 2012): 179. http://dx.doi.org/10.14198/raei.2012.25.14.
The purpose of this paper is to address the critical impact of local Shakespeare on global Shakespeare by examining a Japanese-Korean adaptation of Othello. Incorporating elements of Korean shamanistic ritual and elements from Japanese noh to create a new reading of Shakespeare’s play with its special concern with Desdemona’s soul, the two theatres interact powerfully with each other. Local Shakespeare functions as a cultural catalyst for the two nations vexed with historical problems. By translating and relocating Shakespeare’s Othello in East Asia, the adaptation succeeds in recreating Shakespeare’s play for contemporary local audiences. In considering the adaptation, this paper explores the vital importance of local Shakespeare and local knowledge for the sake of global Shakespeare as a critical potential. The adaptation might evoke a divided response among a non-local audience. While on the one hand, it attempts to create an ‘original’ production of the Shakespeare play through employing the two Asian cultures, on the other, it employs the Shakespeare play as a conduit for their cultural exchange. This is, and is not, Shakespeare. The paper finally suggests that for all this ambivalence, the adaptation shows some respectful, if unfamiliar, feelings that could be shared by many people around the globe.
8
Groeneveld, Leanne. "Modernist Medievalism and the Expressionist Morality Play: Georg Kaiser’s From Morning to Midnight." Acta Universitatis Sapientiae, Film and Media Studies 16, no. 1 (August 1, 2019): 81–101. http://dx.doi.org/10.2478/ausfm-2019-0005.
Abstract This article examines the modernist medievalism of Georg Kaiser’s From Morning to Midnight (Von morgens bis mitternachts), discussing the influence of the morality play genre on its form. The characterization and action in Kaiser’s play mirrors and evokes that of morality plays influenced by and including the late-medieval Dutch play Elckerlijc and its English translation as Everyman, in particular Hugo von Hofmannsthal’s Jedermann, first produced in Berlin in 1911. The medievalism of Kaiser’s play is particularly evident when it is compared to Karl Heinz Martin’s film version of the text, produced in 1920. The play’s allegory and message, though contemporary, are less specifically historically contextual than the film’s, while its central protagonist is more representative of generic capitalist subjectivity. The detective film shapes Martin’s adaptation, obscuring the morality play conventions and therefore medievalism of Kaiser’s earlier text.
9
Reichmann, Brunilda Tempel. "“Tá dificil competir": Adaptação da trilogia de Michael Dobbs, House of Cards, pela BBC e pela Netflix." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 72, no. 1 (February 1, 2019): 213–34. http://dx.doi.org/10.5007/2175-8026.2019v72n1p213.
This paper presents a reading of the political trilogy House of Cards, To Play the King e The Final Cut, by Michael Dobbs, an English writer; and their adaptation by the BBC and Netflix series. I try to demonstrate how novelists, script writers and directors of series celebrate the unparalleled art of Shakespeare by reworking themes, updating contexts and rebuilding personality traits of his unforgettable characters. In short, this text aims to analyze the series and to recover some of the genetic characteristics of Shakespeare’s plays in contemporary artistic/mediatic production.
10
Shibarshina, Svetlana. "New Trading Zones in Contemporary Universities." Philosophy of the Social Sciences 49, no. 6 (August 2, 2019): 510–27. http://dx.doi.org/10.1177/0048393119864697.
This article aims to distinguish and depict the features of communications and collaborations in contemporary universities through the concept of trading zones. The author also considers the role that the idea of a digital university might play in shaping interactions in transforming local context where different actors can find a common ground of exchange. The new contexts, including the pragmatic orientation of contemporary society and new technologies and environments, contribute to reconsidering the idea of the classical university, in which interactions between professors and students have outstepped customary collaborations in laboratories, as well as the idea of education and research integration. This article focuses on distinguishing new forms of interactions, boundary practices, and environments, which are suggested by today’s universities. Proceeding from them, the author argues that new concepts of the university, such as the digital university, and renovated campuses—to some extent—contribute to the adaptation of a renewed idea of Humboldt’s Bildung.
Dissertations / Theses on the topic "Contemporary play adaptation":
1
Hansson, Ylva. "A doll’s world : Nora ur olika kulturella perspektiv." Thesis, Stockholms konstnärliga högskola, Institutionen för scenkonst, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-968.
This master’s thesis discusses who Nora Helmer could be today in different parts of the world. With an idea for an modern adaptation of A doll house (with three Noras from different cultural perspectives) as a starting point the purpose is to research the following questions: Who Nora could be today, how Nora could be portrayed through different cultural perspectives, what similarities and differences there are, if anything in the play has to be changed to relate to a contemporary context and what the essence of Nora is. These questions are being explored through in-depth interviews with five different female actors in different continents: North America, Asia, Oceania, Africa and Europe. The actors thoughts are presented through different themes: Who Nora is, motherhood and marriage, Nora’s favourite color, the ideal woman and who Nora could be in their context today. The last part discusses the different versions of Nora, how a classical play can open up for conversations about current gender equality issues and how this material can be used in the continued work towards a stage production.
2
Diteeyont, Sawita. "Adaptation of Thai traditional plays in a contemporary context." Thesis, University of Exeter, 2012. http://hdl.handle.net/10036/3696.
The purpose of this thesis is to investigate the process of adaptation of a Thai traditional play in a contemporary context. The study is based on two practical projects in which two Thai traditional plays, Sang Thong and Tao San Pom, are adapted and presented on stage. The approaches used in the practices of adaptation are gathered from a range of research in diverse areas, including studies of traditional Thai theatre and plays, the analysis of adaptations of contemporary Thai artists and adaptation theories. With this exploration, I attempt to create original contemporary plays for the modern Thai theatre which, I believe, are able to communicate with a modern Thai audience better than translated or adapted Western plays. The thesis consists of six chapters. The first chapter provides background information regarding the history and development of Thai theatre; the characteristics of traditional theatre and literary works are discussed in the second chapter. The third chapter explores the selected adaptations of well-known Thai artists. The fourth chapter then address the significant approaches that will be further explored in my script adaptations. The commentaries on my two practical projects are presented in my fifth and sixth chapters. This thesis is accompanied by two DVDs, which feature the record of two performances of my practical projects, the script adaptations of Thai traditional plays, Sang Thong and Tao San Pom.
Books on the topic "Contemporary play adaptation":
1
Booth, Paul. Game play: Paratextuality in contemporary board games. New York: Bloomsbury Academic, 2015.
Shakespeare, William. A midsummer night's dream: A facing-pages translation into contemporary English. Los Angeles: Lorenz Educational Publishers, 1995.
Shakespeare, William. The tragedy of Hamlet, Prince of Denmark: A facing-pages translation into contemporary English. Los Angeles, CA: Lorenz Educational Publishers, 1996.
Shakespeare, William. The tragedy of Julius Caesar: A facing pages translation into contemporary English. Los Angeles: Lorenz Educational Publishers, 1995.
Shakespeare, William. Hamlet: Complete, authoritative text with biographical and historical contexts, critical history, and essays from five contemporary critical perspectives. Boston: Bedford Books of St. Martin's Press, 1994.
Book chapters on the topic "Contemporary play adaptation":
1
Popov, Leonid E. "Self-reproduction Cycles of Living Matter and Energetics of Human Activity." In Springer Tracts in Mechanical Engineering, 535–47. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-60124-9_24.
AbstractInthe author’s opinion, many global problems that face humanity—in the fields of education, medicine, management etc. can be tackled more effectively if the cyclic nature of self-reproducing systems—including living beings—is taken into account. Summarizing the main physiological findings of the last decades on “adaptation reactions”, one can very roughly say that the way of action which is effective in the sense of productive activity of people happens at the same time to be healthy, and it gives the participants of the process the feeling of happiness. The present paper represents a very short overview of the contemporary concepts of the adaptation reactions based on the fundamental understanding of their cyclic nature due to general properties of self-reproducing systems. One interesting feature of self-reproduction cycles is its first “phase of orientation” which was not discussed in detail in the past but plays a key role in the whole cycle.
2
Hofer-Robinson, Joanna. "Sets and the City: Staging London and Oliver Twist." In Dickens and Demolition, 51–90. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474420983.003.0003.
This chapter tracks multiple ways in which Oliver Twist and London’s cityscape were adapted for the stage in the late 1830s. It argues that London was a flexible frame through which the audience’s reception of Dickens’s work was mediated in early dramatisations, but also that the novel was imaginatively mapped on to the built environment. For example, Sadler’s Wells emphasise the proximity of the criminal scenes by staging their adaptation as a local drama, while the Surrey Theatre presents their play as an opportunity for armchair tourism. In staging alternative versions of the city, theatres presented differently nuanced portrayals of its inhabitants and perceived social problems. The dynamic re-presentation of Oliver Twist in early theatrical adaptations is thereby indicative of the malleability of Dickensian afterlives in nineteenth-century improvement debates, and these plays were likewise supposed to have an effect on contemporary city-life. Playscripts, stagecraft, actors’ performances, music, and the perceived identities of theatres and their audiences each played a role in curating these representations, and so this chapter adopts an intertheatrical methodology.
3
Höcker, Arne. "Drama, Anecdote, Case." In The Case of Literature, 132–51. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781501749353.003.0008.
This chapter looks at Frank Wedekind's Lulu (1894), which was written more than fifty years after Woyzeck. Unlike Büchner's drama, it is not based on the adaptation of a singular historical case that would allow interpretive access to the documentary material. From a literary perspective, Wedekind has often been seen as a successor to Büchner, insofar as his dramatic work displays similar traits such as an open form and a lack of narrative closure. Although not a single historical case can be identified as the model for the Monstretragödie Lulu, the modern form of the play can be understood as commentary and critique of contemporary discourses on sexuality and deviance that refer to forms of knowledge derived from cases. Wedekind's Lulu presents cases from a sexological context as an arrangement of dramatic skits, exposing their anecdotal potential and staging sexual perversions as the reality of bourgeois fantasies and desires.
4
Cole, Emma. "Martin Crimp’s Alles Weitere kennen Sie aus dem Kino." In Postdramatic Tragedies, 71–102. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198817680.003.0003.
Chapter 2 explores the relationship between text and postdramatic theatre via Katie Mitchell’s 2013 production of Martin Crimp’s adaptation of Euripides’ Phoenissae, titled Alles Weitere kennen Sie aus dem Kino (The Rest Will be Familiar to You from Cinema). I argue that Mitchell’s experimental realization of the text can provide new insights into problematic issues in Euripides’ play, such as the function of the chorus, and that the production consequently indicates the value of analysing postdramatic receptions to the discipline of classics. Furthermore, the chapter showcases how the production engaged with a range of opaque political discourses that questioned the use antiquity to construct one’s own identity, and how tragedy can be used to consider contemporary power disputes and issues of nationalism. The discussion exemplifies why it is unhelpful to think of scripts as either dramatic or postdramatic texts, and instead suggests a focus on the potential that playtexts hold to be realized through postdramatic performance.
5
Hachad, Naïma. "Modes of Feminine Resistance and Testimony in the Wake of the Mudawana Reform and the Arab Uprisings." In Revisionary Narratives, 192–224. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620221.003.0006.
Chapter 6 analyzes Qandisha, A Collaborative Feminine Magazwine, a webzine founded by Moroccan journalist and blogger Fedwa Misk in 2011 and Naïma Zitan’s Dialy (2012), a play in colloquial Moroccan-Arabic (Darija), as exemplars of how women’s activism and cultural production reinvigorated and gendered contemporary discourses of contestation. Dialy, originally conceived as an adaptation of Eve Ensler’s The Vagina Monologues (1996), uses testimonies collected during encounters and workshops involving a hundred and fifty Moroccan women of different ages and from different socioeconomic backgrounds to inscribe in the public sphere major transitions in a woman’s life such as menstruation, sexual relations, marriage, pregnancy, and childbearing. Qandisha has attracted a significant number of writers, readers, and commentators who post their texts in French, Arabic, Darija, and English from all over Morocco as well as from Algeria, France, and Tunisia about sexuality, rape, sexual orientation, and individual freedom. Anonymity, easy access, the dissolution of boundaries (between locales, languages, readers, and writers) have all provided women with endless possibilities for self and collective representation. This chapter analyzes the content and the reception of Dialy and Qandisha to illustrate contemporary divisions around women’s rights and sexuality in the Moroccan context, as well as the uneasy cohabitation between the Moroccan society’s diverse make-up and transnational feminist discourses and global technologies.
6
Brown, Abbe, Smita Kheria, Jane Cornwell, and Marta Iljadica. "4. Copyright 3: economic rights and infringement." In Contemporary Intellectual Property, 115–63. Oxford University Press, 2019. http://dx.doi.org/10.1093/he/9780198799801.003.0004.
This chapter considers the ‘economic rights’ the copyright owner enjoys while copyright protection endures. These are the rights that the Copyright, Designs, and Patents Act 1988 (CDPA 1988) calls ‘acts restricted by copyright’, which may be exploited by transferring them to others or licensing others to use them for a price. The chapter discusses the rights flowing from ownership of copyright and the international framework that underpins them, noting the influence upon UK law of a number of EU Directives. It identifies the general principles pertaining to infringement of economic rights, before turning to the detailed rules on each economic right: to make copies, issue copies to the public; rent or lend commercially to the public; perform, show, or play in public; communication to the public; and make adaptations. It discusses authorisation of infringement (accessory liability) in relation to these economic rights, and finally considers secondary infringement of copyright.
7
Anno, Mariko. "The Continuity of Tradition Today." In Piercing the Structure of Tradition, 147–90. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781939161079.003.0006.
This chapter assesses the degree of continuity of the nohkan that is illustrated in three contemporary Noh play adaptations of William Butler Yeats's At the Hawk's Well by nohkan performers of the Issō School. It looks at interviews conducted with nohkan performers and a composer. It also highlights the nohkan's traditional role in contemporary and English-language Noh that allows variations and embellishments by performers, which demonstrate musical continuity in the context of experimentation. The chapter discusses a number of shinsaku Noh that have been successful and performed more frequently. It describes the performance of Yokomichi Mario's Taka no Izumi and Takahime, including the English-language Noh production of At the Hawk's Well by Theatre Nohgaku.
8
Hamburg, David A., and Beatrix A. Hamburg. "Ethnic, Religious, and Nationalist Factors in Human Conflict." In Learning to Live Together. Oxford University Press, 2004. http://dx.doi.org/10.1093/oso/9780195157796.003.0008.
Contemporary education must try hard to understand where we as a species came from and how our ancient heritage and recent historical transformation contribute to our current tendencies toward hatred and violence. If we are to overcome or control these destructive tendencies, we must grasp the powerful currents that make the task at once difficult and essential. Development of our ancestors took place in the context of small, face-to-face groups that provided the security of familiarity, support in times of stress, shared coping strategies, and enduring attachments that sustained hope and adaptation for a lifetime. Reciprocity was crucial in relationships, both within and between groups. Disapproval in the form of reduced sharing, social isolation, and the threat of rejection from one’s group were powerful sanctions that reinforced conformity to group norms. Indeed, the importance of sharing within the primary group was strongly conveyed to children from infancy onward. These basic facts of small-scale, traditional life have been enduring and powerful from earliest mankind to the present day. They apply to the hunting and gathering societies in which our ancient ancestors spent several million years, to the extended families of agricultural village societies, and to the primary groups of the homogeneous neighborhoods in preindustrial towns of the past that foreshadowed modern industrial and postindustrial societies. Our ancient ancestors’ world began to change drastically with the onset of agriculture 10,000 years ago. The existing evidence clearly shows that—once humans developed agriculture, settled in larger population groups, accumulated goods, and came to rely on designated areas for growing food and grazing animals—a widespread intergroup hostility became common, and at times, severe. Patterns of intergroup violence in preindustrial societies have been confirmed and described in detail by anthropologists and historians. Whatever the evolutionary background and its biological legacy, the historical record clarifies that aggressive behavior between individuals and between groups has been a prominent feature of human experience for at least several thousand years. Everywhere in the world, aggression toward others has been facilitated by a pervasive human tendency toward harsh dichotomizing between the positively valued we and the negatively valued they. Such behavior has been easily learned, practiced in childhood play, encouraged by custom, and rewarded by most human societies.
9
Majumder, Doyeeta. "Tyranny added to usurpation." In Tyranny and Usurpation, 136–89. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781786941688.003.0006.
The last chapter analyzes three adaptations of the story of Richard III’s usurpation and trace a trajectory of the development of the usurpation plot from neo-Latin University plays to the commercial theatre of late-Elizabethan London in an attempt to delineate the politico-historical and ideological reasons for the gradual conflation of the notions of tyranny and usurpation. The usurpation plot and the tyrant-usurper protagonist, pushes against the ideological bulwark of divinely ordained sovereignty to foreground a cosmetic, manufactured notion of legitimacy. This movement can be read in conjunction with the Tudors’ concerted efforts of legally consolidating their questionable dynastic claims to the throne. Within the plays this conflictual intermeshing is complemented by the increasing importance accorded to the consent of the governed in matters of governance, both in drama and in contemporary political theory, marking a proto-liberal turn in humanist political thought.
10
Riley, Kathleen. "John Ford’s The Long Voyage Home (1940)." In Imagining Ithaca, 79–88. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198852971.003.0006.
This chapter deals with the 1940 film The Long Voyage Home, directed by ‘America’s Homer’, John Ford, and critically received as ‘a modern Odyssey’. The film is an adaptation of four one-act plays by Eugene O’Neill, known as the Glencairn cycle, which are permeated by a tragic vision of unattainable nostos. Set in the contemporary context of World War II, it dramatizes the SS Glencairn’s perilous voyage home from the West Indies to England, with a cargo of munitions aboard. There is no obvious Odyssean figure in this nostos tale. Instead the members of the steamer’s ragtag international crew represent variations of the same Odyssean longing. Joseph McBride defines the film’s dramatic focus as ‘the archetypal Fordian male conflict between the urge to wander and the yearning for home’. But these men are not so much wanderers as lost souls purgatorially in thrall to the sea.
Conference papers on the topic "Contemporary play adaptation":
1
Zheng, Ying. "Collision of History with Reality: the Tendency of Adaptation of Shakespeare Plays in the Contemporary Russian Experimental Theater." In Proceedings of the 5th International Conference on Arts, Design and Contemporary Education (ICADCE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icadce-19.2019.64.
Silva, Luciano, Heraldo Borges, and Bruno Futema. "Space Syntax in an idiorrhythmical conglomerate: the case of Jardim Piratininga, São Paulo, Brazil." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.6286.
This article is the result of a partnership between the research group Urban Issues: Design, Architecture, Planning and Landscape - Q.URB, and the Group of Studies of the Urban Form in Brazil - FU.bá, both of the Faculty of Architecture and Urbanism of Mackenzie Presbiterian University. It aims to contribute to urban design alternatives in the Jardim Piratininga neighborhood, located in the East Zone of the Municipality of São Paulo, and to offer subsidies for future Urban Intervention Projects (PIU), since this area was defined, by the 2012 Strategic Master Plan, as Special Zone of Social Interest - ZEIS. It is hypothesized that the study area, considered as an emerging urban fabric stratum and lacking in a large part of its area of basic urbanization infrastructures, holds in itself the potential for a future re-adaptation and complementation of its roadway. The methodology that will be used in the analytical approach of the urban form, known as Space Syntax, seeks to provide: support for decision making; tools to calibrate these decisions; evaluate proposed scenarios; as well as combining other methods and tools. This methodology seeks to confirm something we already know - the need to complete ‘mesh design’ in urbanized areas that have, in contemporary cities, a different constitution from that observed in more sedimented and stable areas (traditional city). As a result, possibilities of transformation of the roadway will be presented according to diverse scenarios, but based on the dynamics of the place itself, and also with the surrounding urban fabric.
