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At last, for those who adapt literature into scripts, a how-to book that illuminates the process of creating a stageworthy play. Page to Stage describes the essential steps for constructing adaptations for any theatrical venue, from the college classroom to a professionally produced production. Acclaimed director Vincent Murphy offers students in theater, literary studies, and creative writing a clear and easy-to-use guidebook on adaptation. Its step-by-step process will be valuable to professional theater artists as well, and for script writers in any medium. Murphy defines six essential building blocks and strategies for a successful adaptation, including theme, dialogue, character, imagery, storyline, and action. Exercises at the end of each chapter lead readers through the transformation process, from choosing their material to creating their own adaptations. The book provides case studies of successful adaptations, including The Grapes of Wrath (adaptation by Frank Galati) and the author's own adaptations of stories by Samuel Beckett and John Barth. Also included is practical information on building collaborative relationships, acquiring rights, and getting your adaptation produced.
What steps are involved in making the jump from a script's text to an engaging imaginative stage? From Page to Stage explores the relationships between text analysis, imagination, and creation.
In this accessible, straightforward book, seasoned author Betsy Graziani Fasbinder offers readers the why, what, and how of public speaking, along with exercises and resources to support ongoing learning. She provides inspiration and encouragement to help writers to overcome their fears of public speaking, but she doesn’t stop there; she also lays out the practical, nuts-and-bolts tools they need to select, deselect, and arrange the content of what to say when they’re on a podium, in an interview, or in casual conversations about their writing, and includes a model for handling challenging questions from interviewers and audience members with confidence and grace. Part practical how-to—full of usable tools and tips—and part author cheerleader and champion, From Page to Stage is the ultimate resource for writers who wish bring their storytelling skills to their speaking opportunities.
This volume offers a lively introduction to the major issues of the stage and print history of the plays, and discusses what a Shakespeare play actually is.
One of the best-known practitioners of the ethnotheatre research tradition outlines its key principles and practices in this clear, concise volume, which covers the preparation of a dramatic presentation from the research and writing stages to the elements of stage production.
Page and Stage narrows the gulf between printed page and performance to make script analysis for production or academic study more effective, efficient, and insightful. This text discusses a method for script analysis based on the idea that plays consist of "organized tension" that involves the audience and organizes their response. It examines the many forms of tension in plays--between actor and character, between the stage and the world of the play, between the present and the past, and between characters--by looking at stage space and time and a wide range of plays from Greek times to the present. Page and Stage addresses the paradox that play scripts are not complete works of dramatic art, and yet contain implicitly, if not explicitly, the intended performance.
In this fantasy adventure, Fletcher and Scoop are Apprentice Adventurers from the ancient establishment of Blotting's Academy on Fullstop Island. This is the place where all story characters are trained. The trouble is, they can't remember how they got there. It's the first day of term, but the two apprentices soon realise something is wrong. Things are going missing, including their own memories, and Scoop has the unsettling feeling that something is creeping in the shadows. As the children search for answers, they become entangled with the life of the Storyteller, the islands creator and king. They journey to his wedding banquet and find themselves uncovering a hidden past. What is their connection to this mysterious man? And is there more to him than meets the eye? ,
This book analyses Rabindranath Tagore’s contribution to Bengali drama and theatre. Throughout this book, Abhijit Sen locates and studies Rabindranath’s experiments with drama/theatre in the context of the theatre available in nineteenth-century Bengal, and explores the innovative strategies he adopted to promote his ‘brand’ of theatre. This approach finds validation in the fact that Rabindranath combined in himself the roles of author-actor-producer, who always felt that, without performance, his dramatic compositions fell short of the desired completeness. Various facets of his plays as theatre and his own role as a theatre-practitioner are the prime focus of this book. This book will be of great interest to students and scholars in Theatre and Performance Studies and most notably, those focusing on Indian Theatre and Postcolonial Theatre.
This interdisciplinary study traverses the disciplines of translation studies, hermeneutics, theater studies, and sociology. Under the “power turn” or “political turn” in translation studies, the omission and untranslatability of religious material are often seen as the product of censorship or self-censorship. But the theology of each individual translating agent is often neglected as a contributing factor to such untranslatability. This book comprehensively traces the hermeneutical process of the translators as readers, and the situational process and semiotics of theater translation. Together these factors contribute to an image of translated literature that in turn influences the literature’s reception. While translation theorists influenced by the current “sociological turn” view social factors as determining translation activities and strategies, this volume argues that the translator’s or the dramatist’s theology and religious values interact with the socio-cultural milieu to carve out a unique drama production. Often it is the religious values of the translating agents that determine the product, rather than social factors. Further, the translatability of religious discourse should be understood in a broader sense according to the seven dimensions proposed by Ninian Smart, rather than merely focusing on untranslatability as a result of semantic and linguistic differences.