Adaptation and Translation

Amelia Parenteau chronicles the process of translating Eva Doumbia’s Autophagies from French to English and producing its tour in the United States, a project that unfolded across four years.

Monica Payne recaps the 26th international Gdansk Shakespeare Festival, where artists from around the globe adapted, deconstructed, and celebrated Shakespeare’s plays through boldly contemporary productions.

Melissa Lin Sturges shares her experience attending Olney Theatre Center’s bilingual production of The Music Man, which was presented in both English and American Sign Language.

Theatremaker Latrice Richardson addresses the ongoing misogynoir in storytelling by detailing one of her past experiences and advocates for better representation of Black women in theatre.

Robert Hubbard sits down with Dr. Nicolette Bethel and Philip A. Burrows to discuss their creation of the annual Shakespeare in Paradise Festival in the Bahamas.

Margarita Kompelmakher details the Alliance Theatre’s process of adapting Working into a community-engaged production that both modeled grassroots organizing and told the story of the work of organizers in the city.

Luane Davis Haggerty shares successes, learnings, and innovations from the Deaf theatre community over the past year of pandemic performance.

Fumbani Innot Phiri Jr. details the creative process of the production of The Vagina Monologues that took place during 16 Days of Activism in Malawi and offers his thoughts, as an audience member, on the show’s big impact.

Emilio Williams sits down with Jesús Caballero to talk about the lost puppetry genre called la máquina real and Jesús’s company in Spain that works to reimagine this Baroque art form. / Emilio Williams entabla una conversación con Jesús Caballero sobre un género de teatro de títeres olvidado de nombre la máquina real y los esfuerzos de Jesús y su compañía en España por recuperar esta tradición barroca.

Manuel Muñoz reflects on Virginia Grise’s adaptation of Their Dogs Came with Them, which took place in fall 2019 under the colossal concrete freeway ramps of the I-10 freeway that dissect South Tucson from the edge of the Sonoran Desert.

Merve Parla shares her experience with Netherlands-based dance company Club Guy & Roni’s recent production of Swan Lake, an interactive experience with both offline and online components.