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Adapting King Lear for the Stage (Paperback)
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Adapting King Lear for the Stage (Paperback)
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Questioning whether the impulse to adapt Shakespeare has changed
over time, Lynne Bradley argues for restoring a sense of
historicity to the study of adaptation. Bradley compares Nahum
Tate's History of King Lear (1681), adaptations by David Garrick in
the mid-eighteenth century, and nineteenth-century Shakespeare
burlesques to twentieth-century theatrical rewritings of King Lear,
and suggests latter-day adaptations should be viewed as a unique
genre that allows playwrights to express modern subject positions
with regard to their literary heritage while also participating in
broader debates about art and society. In identifying and
relocating different adaptive gestures within this historical
framework, Bradley explores the link between the critical and the
creative in the history of Shakespearean adaptation. Focusing on
works such as Gordon Bottomley's King Lear's Wife (1913), Edward
Bond's Lear (1971), Howard Barker's Seven Lears (1989), and the
Women's Theatre Group's Lear's Daughters (1987), Bradley theorizes
that modern rewritings of Shakespeare constitute a new type of
textual interaction based on a simultaneous double-gesture of
collaboration and rejection. She suggests that this new interaction
provides constituent groups, such as the feminist collective who
wrote Lear's Daughters, a strategy to acknowledge their debt to
Shakespeare while writing against the traditional and negative
representations of femininity they see reflected in his plays.
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