Translation, Adaptation, and Dramaturgy - New books

24 May, 2014

New Dramaturgy: International Perspectives on Theory and Practice

Katalin Trencsenyi and Bernadette Cochrane (eds)


Recent shifts in the theatrical landscape have had corresponding implications for dramaturgy. The way we think about theatre and performance today has changed our approaches to theatre making and composition. Emerging new aesthetics and new areas of dramaturgical work such as live art, devised and physical theatre, experimental performance, and dance demand new approaches and sensibilities. 

New Dramaturgy: International Perspectives on Theory and Practice is the first book to explore new dramaturgy in depth, and considers how our thinking about dramaturgy and the role of the dramaturg has been transformed. 

Edited by Katalin Trencsényi and Bernadette Cochrane, New Dramaturgy: International Perspectives on Theory and Practice provides an unrivalled resource for practitioners, scholars, and students.

Methuen, June 2014


Translation and Adaptation in Theatre and Film

Katja Krebs (ed.)


This book provides a pioneering and provocative exploration of the rich synergies between adaptation studies and translation studies and is the first genuine attempt to discuss the rather loose usage of the concepts of translation and adaptation in terms of theatre and film. At the heart of this collection is the proposition that translation studies and adaptation studies have much to offer each other in practical and theoretical terms and can no longer exist independently from one another. As a result, it generates productive ideas within the contact zone between these two fields of study, both through new theoretical paradigms and detailed case studies. Such closely intertwined areas as translation and adaptation need to encounter each other’s methodologies and perspectives in order to develop ever more rigorous approaches to the study of adaptation and translation phenomena, challenging current assumptions and prejudices in terms of both. The book includes contributions as diverse yet interrelated as Bakhtin’s notion of translation and adaptation, Bollywood adaptations of Shakespeare’s Othello, and an analysis of performance practice, itself arguably an adaptive practice, which uses a variety of languages from English and Greek to British and International Sign-Language. As translation and adaptation practices are an integral part of global cultural and political activities and agendas, it is ever more important to study such occurrences of rewriting and reshaping. By exploring and investigating interdisciplinary and cross-cultural perspectives and approaches, this volume investigates the impact such occurrences of rewriting have on the constructions and experiences of cultures while at the same time developing a rigorous methodological framework which will form the basis of future scholarship on performance and film, translation and adaptation.


Routledge September 2013


Theatre-Making: Interplay Between Text and Performance in the 21st Century

Duška Radosavljevic


Exploring modes of authorship in contemporary theatre, Theatre-Making: Interplay Between Text and Performance in the 21st Century seeks to transcend the heritage of binaries from the twentieth century, such as: text-based vs. devised theatre, East vs. West, theatre vs. performance - with reference to genealogies through which these categories have been constructed in the English-speaking world.

Based on substantial original research, Theatre-Making is innovative in that it brings together text-based and performance-based theatre, and offers their consideration with reference to different cultures (European and Anglo-American). Amongst other things, this book argues that devising has now become a historical category, that playwrights in the twenty-first century are more akin to music composers and that contemporary performance-makers are finally beginning to understand Brecht. Examples under discussion range from the Royal Shakespeare Company's kinaesthetic approach to Shakespeare, to the Belgian company Ontroerend Goed's interactive shows. Drawing on interviews with leading contemporary practitioners and companies, such as Tim Crouch, Kneehigh and Simon Stephens, amongst others, this book usefully bridges the gap between dramatic theatre and devised performance by exploring the role of the theatre writer, writing and text in all of these diverse manifestations of theatre and performance-making.

Formalizing the increasing currency of the terms 'theatre-making' and 'theatre-maker', the book also acknowledges changing trends in the de/professionalization of theatre artists in the English-speaking world in the twenty-first century.

In addition, despite various forms of conservatism within the critical establishments all over Europe, this volume finds that in the twenty-first century, the notion of theatrical authorship in its own right is gaining significance through the globalized blogosphere.


Palgrave Macmillan June 2013

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