Exploring whether the impulse to adapt Shakespeare has changed over time, Bradley argues for restoring a sense of historicity to the study of adaptation. Bradley compares adaptations of King Lear from the seventeenth through the nineteenth centuries to twentieth-century rewritings of the play, suggesting modern Shakespeare adaptations represent a unique genre that permits playwrights to acknowledge their literary heritage while articulating more modern subject positions and participating in broader debates about art and society.
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.
Is King Lear an autonomous text, or a rewrite of the earlier and anonymous play King Leir? Should we refer to Shakespeare’s original quarto when discussing the play, the revised folio text, or the popular composite version, stitched together by Alexander Pope in 1725? What of its stage variations? When turning from page to stage, the critical view on King Lear is skewed by the fact that for almost half of the four hundred years the play has been performed, audiences preferred Naham Tate's optimistic adaptation, in which Lear and Cordelia live happily ever after. When discussing King Lear, the question of what comprises ‘the play’ is both complex and fragmentary. These issues of identity and authenticity across time and across mediums are outlined, debated, and considered critically by the contributors to this volume. Using a variety of approaches, from postcolonialism and New Historicism to psychoanalysis and gender studies, the leading international contributors to King Lear: New Critical Essays offer major new interpretations on the conception and writing, editing, and cultural productions of King Lear. This book is an up-to-date and comprehensive anthology of textual scholarship, performance research, and critical writing on one of Shakespeare's most important and perplexing tragedies. Contributors Include: R.A. Foakes, Richard Knowles, Tom Clayton, Cynthia Clegg, Edward L. Rocklin, Christy Desmet, Paul Cantor, Robert V. Young, Stanley Stewart and Jean R. Brink
Excerpt from The History of King Lear, Acted at the Queens Theatre And, as my Patron, thought on in my Pray ers. I eat. Away, the Bow is bent, make £10111 the Shaft. Kent. No let it fall and drench within my Heart. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Four hundred years after William Shakespeare’s death, his works continue to not only fill playhouses around the world, but also be adapted in various forms for consumption in popular culture, including in film, television, comics and graphic novels, and digital media. Drawing on theories of play and adaptation, Playfulness in Shakespearean Adaptations demonstrates how the practices of Shakespearean adaptations are frequently products of playful, and sometimes irreverent, engagements that allow new ‘Shakespeares’ to emerge, revealing Shakespeare’s ongoing impact in popular culture. Significantly, this collection explores the role of play in the construction of meaning in Shakespearean adaptations—adaptations of both the works of Shakespeare, and of Shakespeare the man—and contributes to the growing scholarly interest in playfulness both past and present. The chapters in Playfulness in Shakespearean Adaptations engage with the diverse ways that play is used in Shakespearean adaptations on stage, screen, and page, examining how these adaptations draw out existing humour in Shakespeare’s works, the ways that play is used as a pedagogical aid to help explain complex language, themes, and emotions found in Shakespeare’s works, and more generally how play and playfulness can make Shakespeare ‘relatable,’ ‘relevant,’ and entertaining for successive generations of audiences and readers.
Critics and audiences often judge films, books and other media as "great" --but what does that really mean? This collection of new essays examines the various criteria by which degrees of greatness (or not-so) are constructed--whether by personal, political or social standards--through topics in cinema, literature and adaptation. The contributors recognize how issues of value vary across different cultures, and explore what those differences say about attitudes and beliefs.
The Arden Research Handbook of Shakespeare and Adaptation explores the dynamics of adapted Shakespeare across a range of literary genres and new media forms. This comprehensive reference and research resource maps the field of Shakespeare adaptation studies, identifying theories of adaptation, their application in practice and the methodologies that underpin them. It investigates current research and points towards future lines of enquiry for students, researchers and creative practitioners of Shakespeare adaptation. The opening section on research methods and problems considers definitions and theories of Shakespeare adaptation and emphasises how Shakespeare is both adaptor and adapted.A central section develops these theoretical concerns through a series of case studies that move across a range of genres, media forms and cultures to ask not only how Shakespeare is variously transfigured, hybridised and valorised through adaptational play, but also how adaptations produce interpretive communities, and within these potentially new literacies, modes of engagement and sensory pleasures. The volume's third section provides the reader with uniquely detailed insights into creative adaptation, with writers and practice-based researchers reflecting on their close collaborations with Shakespeare's works as an aesthetic, ethical and political encounter. The Handbook further establishes the conceptual parameters of the field through detailed, practical resources that will aid the specialist and non-specialist reader alike, including a guide to research resources and an annotated bibliography.
Inspired by Shakespeare's King Lear, this breathtaking debut novel tells the story of the most famous woman ever written out of literary history. "I am the queen of two crowns, banished fifteen years, the famed and gilded woman, bad-luck baleful girl, mother of three small animals, now gone. I am fifty-five years old. I am Lear's wife. I am here." Word has come. Care-bent King Lear is dead, driven mad and betrayed. His three daughters too, broken in battle. But someone has survived: Lear's queen. Exiled to a nunnery years ago, written out of history, her name forgotten. Now she can tell her story. Though her grief and rage may threaten to crack the earth open, she knows she must seek answers. Why was she sent away in shame and disgrace? What has happened to Kent, her oldest friend and ally? And what will become of her now, in this place of women? To find peace she must reckon with her past and make a terrible choice - one upon which her destiny, and that of the entire abbey, rests. Giving unforgettable voice to a woman whose absence has been a tantalising mystery, Learwife is a breathtaking novel of loss, renewal and how history bleeds into the present.
