Adaptation and Translation

Roxanne Schroeder-Arce interviews her ten-year-old daughter Genevieve to get her thoughts on a recent theatre for young audiences show in Austin, Texas.

In this installment of the Pedagogy Notebook series, professor Carla Della Gatta writes about how she integrated Latina/o artists into a critical studies class on Greek and Roman theatre.

Patricia Davis on Mosaic Theatre's US premiere in Washington, D.C. of I Shall Not Hate, based on the life of Palestinian doctor Izzeldin Abuelaish.

Carlos Morton on the recent Los Angeles production of José Sanchis Sinisterra’s Ay Carmela. 

Edward Einhorn discusses the benefits and pitfalls of posting scripts online.

David Dudley reflects on Steel Hammer and the John Henry myth, at the Krannert Center in Urbana, Illinois.

David Bruin on Teatro Patologico’s production of Medea at La Mama in New York City. 

Donald Sanborn on the evolution of Gigi from novella to film, film to stage, and stage and to stage once more.

Actor and writer Eli Keel reflects on his introduction to Shakespeare and advocates translation for new audiences.

Lue Douthit, director of literary development at Oregon Shakespeare Festival, discusses the history and rationale of the Play on! Project with OSF to translate 39 of Shakespeare’s plays.

Christopher Goodson on Rose Cano’s adaptation, Don Quixote: Homeless in Seattle, produced by eSe Teatro in Seattle, Washington.

Educator and author Max Alvarez discusses the unlikely alliance of film director Alfred Hitchcock and playwright Thornton Wilder and Wilder’s contribution to one of Hitchcock’s greatest films Shadow of a Doubt.

Patrick Gaughan on Elevator Repair Service’s adaptation of William Faulkner’s The Sound and the Fury. 

Roxanne Schroeder-Arce on Cenicienta by Rupert Reyes and Caroline Reck, and Alvaro Saar Rios’ LUCHADORA!

Emma Wiseman on Dangerous Ground’s adaptation of the 1972 film Solaris, S., in New York City.

Alanna Mitchell talks about transforming her book Sea Sick: The Global Ocean in Crisis into a one-woman show, and the conversation she found in theatre.

Enrique's Journey, directed and adapted by Anthony J. Garcia, is based on Pulitzer Prize-winning  book of the same name by Sonia Nazario. The third production of Enrique’s Journey took place at the LATC's Encuentro 2014, performed by Su Teatro.

At this historic moment in which it is still quite dangerous to be a black man in the United States, Native Son offers an important provocation. For all the world has changed since 1939, the production asks us to take a good hard look at what has not.

Bertie Ferdman interviews Anne Hamburger about Basetrack Live, a multimedia theatre production inspired by Basetrack: One-Eight, a web project created in 2010 by photojournalists embedded with US Marines fighting in southern Afghanistan.

"All Our Tragic," adapted and directed by Sean Graney and produced by The Hypocrites at the Den Theatre in Chicago, features all thirty-two surviving Greek tragedies by Aeschylus, Sophocles, and Euripides compiled into a single twelve-hour epic. It includes seven intermissions of varying lengths and a vegan feast of Mediterranean food is served throughout. The result is rather like a contemporary version of a Dionysian festival.

Morgan Gould reviews The Sonic Life of a Giant Tortoise, and also interacts with the idea of revealing her tastes as a critic before reviewing.

Jonathan Mandell writes about the life of prolific costume designer Carrie Robbins, and her new ambitions as adaptor and playwright.

Patricia Davis reviews the Constellation Theatre's production of The Love of the Nightingale by Timberlake Wertenbaker

Lily Janiak discusses the world premiere of Stuart Eugene Bousel's adaptation of Rat Girl, a memior by Kristin Hersh, lead singer of Throwing Muses.

This week's conversation topic is "Modernizing/Adapting Classic Plays: How & Why Do You Do It?" and will be moderated by Lianna Salva @LiannaSalva—who like all of our moderators, authors, and content producers—self-selected to peer-produce on this commons-based platform! This hour-long Howl will take place on Thursday, May 8 on hashtag #newplay at 11am PDT (Vancouver) / 1pm CDT (Austin) / 2pm EDT (Toronto) / 18:00 GMT / 7pm BST (London).