Katja Krebs

Ghosts We Have Seen Before: Trends in Adaptation in Contemporary Performance

1 See, for example, Roger Manvell, Theatre and Film: A Comparative Study of the Two Forms of Dramatic Art, and the Problems of Adaptation of Stage Plays into Films (Rutherford, NJ: Fairleigh Dickenson University Press, 1979); Peter Reynolds, ed., Novel Images: Literature in Performance (London: Routledge, 1993); Linda Constanzo Cahir, Literature into Film: Theory and Practical Approaches (Jefferson, NC: McFarland, 2006); and Márta Minier, “Definitions, Dyads, Triads and Other Points of Connection in Translation and Adaptation Discourse,” in Translation and Adaptation in Theatre and Film, ed. Katja Krebs (New York: Routledge, 2014), 13–35. 2 See, for example, Sarah Cardwell, Adaptation Revisited: Television and the Classic Novel (Manchester: Manchester University Press, 2002); Linda Hutcheon, A Theory of Adaptation (New York: Routledge, 2006); Phyllis Frus and Christy Williams, eds., Beyond Adaptation: Essays on Radical Transformations of Original Works (Jefferson, NC: McFarland, 2010); and Kamilla Elliott, “Theorizing Adaptations/Adapting Theories,” in Adaptation Studies: New Challenges, New Directions, ed. Jørgen Bruhn, Anne Gjelsvik, and Eirik Frisvold Hanssen (London: Bloomsbury, 2013), 19–45.

Orientating Voices in Memories and Spaces: Well I Never…?

Abstract This paper is a dialogue between the artist and the analyst in the examination of a digital video art work as a piece of practice as research. The paper identifies and addresses the significant research questions that have arisen out of precisely such a dialogue about work in progress. Rather than focusing on the completed installation as a piece of research, this paper emphasises the artistic practice as experience and offers a concurrent academic debate, which complements the art work rather than substitute it as a research outcome. By embracing such plurality inherent in artistic practice as research, this article examines questions of authenticity of voice, narrative abstraction and interpretation and the effect low budget constraints have on film practice. Rather than offering certain conclusions, this paper is to be one in a series, discussing the research practice at various points in the artistic process.