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Collaborating with Ghosts to Inhabit the Body Adapting Women's Collaborating with Ghosts to Inhabit the Body Adapting Women’s Literary Modernism to the Stage A thesis for the degree of Doctor of Philosophy Royal Holloway, Department of Drama, Theatre & Dance By Nina-Marie Gardner Declaration of Authorship I . hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______________________ Date: ________________________ 2 ABSTRACT The novels and short stories of the modernist women writers of the late 1920s and early 1930s were considered radical in their time, not just for the ways they experimented with language and narrative style, but also for their content. My thesis explores the challenges of adapting these novels to the stage, drawing upon my own adaptation of American modernist Margery Latimer’s novel This Is My Body (1930). My primary methodology is traditional scholarly research that has provided a framework for writing the play; my analysis of the play is the final focus. I argue that given the manner in which many of these narratives perform – specifically, modernist women’s autobiographical novels – adaptation is already built-in, such that adapting them to the stage becomes a process of highlighting and foregrounding what is already in place. Chapter One considers the intersection of modernism and feminism, and traces the thread of feminism through the modernist movement, with a focus on the relationship between the women’s rights activists and the modernist women writers. Chapter Two looks at the intersection of feminism and adaptation, with a focus on authorship, issues of fidelity and feminist adaptation strategies. Chapter Three examines the intersection between modernism and adaptation from both a historical and ideological standpoint, with a focus on the contentious relationship between modernism and theatre, and the generative impact of this tension. Chapter Four looks at the intersection of modernism, feminism and adaptation; specifically, how modernist women’s autobiographical narratives perform, which in turn lends them to the stage. In order to examine my arguments in practice, I have included Portage Fancy, my own stage adaptation of Margery Latimer’s novel This Is My Body (1930), which is followed by an analysis. 3 TABLE OF CONTENTS 1. INTRODUCTION 2. CHAPTER ONE The Intersection of Feminism and Modernism: Feminism’s Formative Influence on Modernism 3. CHAPTER TWO The Intersection of Feminism and Adaptation: Authorship, Fidelity and Feminist Approaches to Stage Adaptation 4. CHAPTER THREE The Intersection of Modernism and Adaptation: Adapting the Modernist Novel to the Stage 5. CHAPTER FOUR The Intersection of Modernism, Feminism and Adaptation: Narrative as Performance in Modernist Women’s Autobiographical Fiction 6. PORTAGE FANCY 7. CHAPTER FIVE Analysis of Portage Fancy 8. CONCLUSION 9. BIBLIOGRAPHY 10. APPENDIX A Play draft: Maggie/Maggie 11. APPENDIX B Play draft: Margery 12. APPENDIX C How to access Margery Latimer’s novel, This Is My Body (1930) 4 NOTE: The additional play drafts included in Appendix A and Appendix B are not required reading as part of the dissertation as a whole. They are included for reference, as they are discussed in Chapter Five. However, following the analysis should not be contingent on whether or not one has read these drafts. 5 INTRODUCTION The novels and short stories of the modernist women writers of the late 1920s and early 1930s were considered radical in their time, not just for the ways they experimented with language and narrative style, but also for their content. Their handling of themes related to marriage, women’s independence and sexual freedom shocked and challenged a society that was still grappling with ‘The Woman Question’ – a legacy of the middle-class Victorian debate about a woman’s nature and place in society. This dissertation explores the challenges and strategies for adapting these novels to the stage, and does so within a framework that investigates the intersections between modernism, feminism and adaptation. I argue that given the manner in which many of these narratives perform – specifically, modernist women’s autobiographical novels – adaptation is already built-in, such that adapting them to the stage becomes a process of highlighting and foregrounding what is already in place. Examining the possibilities for these novels on the contemporary stage requires moving beyond simply opening them up to identify their structure, themes and meanings; as Linda Hutcheon points out in A Theory of Adaptation, it means opening them up for ‘(re)interpretation and then (re-)creation’ (8). As Hutcheon defines it, an adaptation is both the process and the product; the process being one of creation, while the product involves the transposition to a new medium, which might also entail changes in context, point of view and focal point. Adaptation ‘is about engagement with the text that makes us see the text in different ways’; or as she quotes Susan Bassnett, it is ‘an act of both inter-cultural and inter-temporal communication’ (16; Bassnett 10). In terms of modernist women’s novels, their experimental aspects pose unique challenges – 6 generative challenges, I argue, conducive to a particularly exciting adaptation process, especially in terms of the stylistic, structural and dramaturgical experimentation they encourage. My primary methodology is traditional scholarly research that has provided a framework for writing my own adaptation of American modernist Margery Latimer’s novel This Is My Body (1930). My analysis of the play is the final focus. The process of adapting Latimer’s novel has proven to be particularly challenging and informative for how it explores themes related to women’s independence, marriage, and the devastating aftermath of an abortion in the late 1920s. This dissertation addresses the following questions: What is it that lends these novels to the stage? How important is the role of fidelity and authorship in adapting these texts? What are the challenges and strategies for effecting a stage adaptation of these novels that foregrounds their feminism? What can the adaptation process tell us about both feminist adaptation, and women’s literary modernism? And finally, how might these narratives as adapted for the stage function to inform how women ‘perform’ today? Modernism, Feminism and Adaptation: Critical Underpinnings Modernism My focus is modernism as a literary movement, although references to the movement as a whole, which spanned the visual arts, architecture, film and music, are inevitable. Indeed, as Malcolm Bradbury and James McFarlane write, the term ‘modernism’ has been applied to ‘a wide variety of movements subversive of the realist or the romantic impulse and disposed towards abstraction (Impressionism, Post-Impressionism, Expressionism, Cubism, Futurism, Symbolism, Imagism, Vorticism, Dadaism, Surrealism)’; rather than being movements of a kind, ‘some are 7 radical reactions against others’ (23). Peter Childs also points out that ‘Modernism is regularly viewed as either a time-bound or a genre-bound art form’; as time-bound, Childs places it primarily in the period between 1890-1930, ‘with the wider acknowledgement that it develops from the mid-nineteenth century and begins to lose its influence in the mid-twentieth century’ (19). Given my interest in women’s literary production, this thesis focuses largely on the period between 1900 and 1935. Rather than establishing a strict formal definition of modernism – in part because this generates exclusions that have tended to underplay the significance of women’s autobiographical writing in the period – this thesis approaches modernism as a period of cultural production around the turn of the century, with an awareness that its edges are blurred and it is comprised of multiple, competing voices; moreover, some works produced in the period may employ modernist motifs, partially or intermittently, and from the liminal position may even offer a place of critique of modernism while still repeating some of its gestures. Given realism’s unique relationship to modernism, and especially the modernist women’s autobiographical narratives that are the focus of this thesis, it bears a closer look. However, it should also be noted that this complicates the periodization of modernism because realism in the novel – from Balzac, to Flaubert, Zola and Hardy – predates Childs’s description of modernism as starting around 1890. ‘Classic realism’, which Catherine Belsey cites as the dominant popular mode in literature, film and television drama is, as she defines it, ‘characterized by illusionism, narrative which leads to closure, and a hierarchy of voices which establishes the “truth” of the story’ (64). In terms of literary realism, ‘plots and characters are constructed in accordance with secular empirical rules’; aspects that ‘are explicable in terms of natural causation without resort to the supernatural or divine intervention’ – as opposed to idealism, which ‘is grounded upon a view of Truth as universal 8 and timeless’ (Morris 3). In other words, realism seeks for truth in external details, an aspect that Virginia Woolf takes apart in ‘Mr. Bennett and Mrs. Brown’ when she condemns writers such as Arnold Bennett for being so mired in their aim for documentary specificity that their characters lack even a hint of personality (Morris 16). Perhaps for this obsession with finding the truth in outer specifics and hard details, realism has endured a reputation
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