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Postdramatic Methods of Adaptation in the Age of Digital Collaborative Writing

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Postdramatic Methods of Adaptation in the Age of Digital Collaborative Writing Postdramatic methods of adaptation in the age of digital collaborative writing ............................................................................................................................................................ Thomas Crombez University of Antwerp, Antwerp Edith Cassiers University of Antwerp, Antwerp and Vrije Universiteit Brussel, Brussels ....................................................................................................................................... Abstract The aim of our contribution is to shed light on the artistic process of theatrical adaption from a novel to a theatre script and, eventually, to the stage. Our example comes from contemporary European theatre: the production of Die Bru¨der Karamasow (The Brothers Karamasow) by Luk Perceval at the Thalia Theater in Hamburg, based on Dostoevsky’s eponymous novel (2013). We use digital text analysis and visualization to analyze the genesis of an adaptation. Our analysis is mainly based on a large set of different versions of the playtext. We visualize the working process during the nine-month process of adaptation and Correspondence: rehearsal. By automatically calculating and comparing the textual differences Thomas Crombez, between each two subsequent versions, both stages of thorough revision and Universiteit Antwerpen, superficial text changes can be identified. We supplement this analysis with Prinsstraat 13, S.D.216, B-2000 Antwerpen, Belgium. information on the working process given by Perceval himself during a recent E-mail: interview in Hamburg, and with research on his previous methods of adaptation, [email protected] using the archives of his original Flemish company Blauwe Maandag Compagnie. ................................................................................................................................................................................. 1 Introduction the computer. What Cunningham (1994) has called ‘personal digital archives’ arise, a hybrid The aim of our contribution is to examine the chan- collection of both traditional paper-based materials ging mediality of contemporary working methods in as well as computer storage media. Moreover, with the artistic process of theatrical adaptation. The rise the rise of the Internet, the phenomenon ‘cloud to prominence of digital text and online workflows computing’ comes into being and blends increas- now allows the almost effortless archiving of prelim- ingly fast with the creative process.1 inary drafts and early versions. Since the 1980s, the These changes demand a shift in the researcher’s computer has been the ‘dominant writing technol- approach. It is quite doable to compare multiple ogy’ for many, including authors of poetry, prose, handwritten or typescript versions of a single theatrical and drama (Kirschenbaum et al., 2009). The result is adaptation. But what to do when tens or even hun- that more and more texts are ‘born-digital’: they are dreds of digital versions are available, that each repre- composed, edited, and circulated on and through sent a specific day and time of the working process? Digital Scholarship in the Humanities, Vol. 32, No. 1, 2017. ß The Author 2015. Published by Oxford University 17 Press on behalf of EADH. All rights reserved. For Permissions, please email: [email protected] doi:10.1093/llc/fqv054 Advance Access published on 10 October 2015 T. Crombez and E. Cassiers The methodology we chose for tackling this prob- his present approach. Next, these recent changes lem reflects the recent changes that digital tools have are studied in a two-part analysis. In the first part, brought to the practice of theatre artists. The emer- we visualize the different versions in order to bring gent field of digital humanities offers new instru- out the rhythm of the working process. The exam- ments, such as digital text analysis and ination on the macro-level is, secondly, followed by visualization, to help examine the genesis of a text a microanalysis in order to identify crucial moments that is available in a large number of digital versions of the writing process and conspicuous text modi- (for example, Beckett, 2011). Although these meth- fications. As will become evident from our macro- ods have proven to be successful in the analysis of the level and micro-level analysis, both approaches textual creative process of writers, the analysis of an bring different aspects of the artistic process to the adaptation process in a theatrical practice has, until foreground. In what follows, we will examine how now, much less been studied. Our case study comes these two methods may complement each other and from contemporary European theatre. In April 2013, what can and cannot be uncovered. Die Bru¨der Karamasow (The Brothers Karamazov), a German adaptation of Fyodor Dostoyevsky’s eponymous 1867 novel, premiered at the Thalia 2 Postdramatic Methods Theatre in Hamburg, directed by Flemish theatre of Writing and Adaptation artist Luk Perceval. In this essay, we would like to investigate the use A fundamental characteristic of postdramatic of digital text writing in the theatrical adaptation theatre appears to be the shift in the conventional process. The main question of our contribution is hierarchy of drama text and performance. No longer to study the consequences for artists.Wewillexamine the drama is seen as the pre-text for, and the origin how Perceval and his collaborator Susanne Meister of, a theatrical performance. On the contrary, the approached the task of adapting the Dostoyevsky text spoken on the stage—or projected, or written novel for the stage. How does the use of digital text by hand, or shown in a mechanical way—seems to writing influence both the resulting text as well as the be only one part of a larger theatrical whole.3 In rehearsal process, and vice versa? In the second place, Lehmann’s own words: ‘In postdramatic forms of we want to investigate the consequences for re- theatre, staged text (if text is staged) is merely a searchers. What research possibilities and difficulties component with equal rights in a gestic, musical, arise with digital text writing and archiving? How to visual, etc., total composition’ (2006). handle the hybrid status of these born-digital collec- This approach extends the range of potential ‘the- tions, the coexistence of electronic objects with more atrical texts’ significantly. Not only dramas, but also traditional forms of archival content? These questions diaries, essays, screenplays, and novels qualify as ‘pre- will also be discussed below, although they are here of text’ for a production. Text is thus approached ‘as secondary importance. basic material only’ (Lehmann, 2006). Obviously, Regarding the structure of our essay, the first part adaptation will then play an increasingly important provides the background concerning ‘postdramatic’ role in the postdramatic work process. In his book, methods of adaptation in general, and those of Luk Lehmann himself devotes little attention to such pro- Perceval in particular. The expression comes from cesses. However, a plausible hypothesis is that the Hans-Thies Lehmann’s seminal work Postdramatic artistic methods will differ equally fundamentally Theatre, which has started to function (since its from classical rehearsal methods, as the resulting publication in 1999) as an exhaustive and even productions are different. Here, too, we can expect canonical overview of the experimental performing ‘ambiguity [...]; discontinuity; heterogeneity; arts from the ‘post-avant-garde’ period of the 20th non-textuality; pluralism; multiple codes; subversion century’s last three decades.2 We focus first on [...]; performer as theme and protagonist; deform- Perceval’s previous (non-digital) methods. This is ation [...]; deconstruction; considering text to be necessary in order to understand the changes in authoritarian and archaic’ (Lehmann, 2006). 18 Digital Scholarship in the Humanities, Vol. 32, No. 1, 2017 Inside the adaptation room We can furthermore see that these adaptation be made to the drama text after the first perform- processes are often intertwined with the uses of ance. Nonetheless, this linear model, starting with new media. Lehmann coupled the emergence of the creation of the drama text, is almost exclusively the postdramatic aesthetics not only with a devalu- followed in the dramatic creative process. A creative ation of the dramatic text, but also with the caesura process of postdramatic theatre, in contrast, has a less produced by the new media society (2006). Partly linear development. If a text is used, it is often because of the decrease of the importance of the (re)written and/or (re)created during the rehearsal dramatic text—and in that sense the implied process through cutting, sampling, copy/paste, mon- medial carrier of notes and text and language— tage, and so on. Hence, less linear methods are used. and partly because of the increase of multi- and In particular, new media lend themselves better to intermedial use within postdramatic theatre, the these ways of writing, for example via techniques of writing, adapting, and creative processes are montage. We will come across some examples when influenced by the technical and new-medial we look at the adaptation strategies of Luk Perceval. developments. Email, blogs, social networking, photo sharing, and other network-centric services become a not to 3 The Adaptation Strategies be underestimated part of the creative process. The of Luk Perceval Internet
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