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The Practice of Adaptation: Turning Fact and Fiction Into Theatre

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The Practice of Adaptation: Turning Fact and Fiction Into Theatre The Practice of Adaptation: Turning Fact and Fiction into Theatre. Janis Balodis (n5336058) Submitted for the degree of Doctor of Philosophy Queensland University of Technology 2012 ii The work contained in this thesis has not been previously submitted to meet the requirements for an award at this or any other higher education institution. To the best of my knowledge and belief, the thesis contains no material previously written or published by another person except where due reference is made. Signature _________________________________________ Date _________________________________________ Acknowledgements I would like to acknowledge and thank the following for their contribution to this project: Professor Rodney Wissler (Supervisor) for his insight, intelligent and thoughtful advice, his calm and patient guidance, his encouragement and expertise in this field. Professor Paul Makeham (Associate Supervisor) for his knowledge, humour and keen judgement, his incisive corrections and opinions, and unfailing editorial direction. Sean Mee and La Boite Theatre Company for commissioning and producing the works in its 2006 and 2007 play seasons. Paul Grabowsky and the Queensland Music Festival for their support and belief in the musical presentation of the story of the 1964 - 1965 Mount Isa industrial dispute. Pauline Walsh, my wife, for her patience, encouragement, affectionate support, faith and endurance. iii TABLE OF CONTENTS 1 TITLE..................................................................................................................................1 1.1 Abstract............................................................................................................................1 1.2 Defining terms in the title ............................................................................................2 2 INTRODUCTION ............................................................................................................5 2.1 Why: The role of autobiography................................................................................5 2.2 How: The lens of adaptation .......................................................................................9 2.3 What: Reasons for project choices.......................................................................... 12 2.4 Aims............................................................................................................................... 13 3 CONTEXTUAL REVIEW .......................................................................................... 14 3.1 A context for theatre adaptations ........................................................................... 14 3.2 Why adapt?.................................................................................................................. 19 3.3 What is [an] adaptation?........................................................................................... 24 3.3.1 Introductory Overview of Previous Research ........................................................... 24 Three approaches to the process of adaptation.................................................................................. 24 3.3.2 New Directions - The way ahead .................................................................................. 30 New analytical and practice-based impulses ..................................................................................... 31 Post-structuralism versus Interpretive Relevance ............................................................................ 35 Interpretive relevance ................................................................................................................................ 36 3.4 How to adapt................................................................................................................ 38 3.4.1 Comparative Analysis..................................................................................................... 40 Generic Context........................................................................................................................................... 40 Authorial Context........................................................................................................................................ 40 Theatrical Context (Medium-Specificity)........................................................................................... 41 Rewriting the Narrative............................................................................................................................. 41 Adaptation Proper....................................................................................................................................... 41 3.4.2 The Mechanics of Narrative .......................................................................................... 42 Order................................................................................................................................................................ 42 Duration.......................................................................................................................................................... 43 Frequency ...................................................................................................................................................... 43 Adapting the narrator................................................................................................................................. 43 Point of View................................................................................................................................................ 43 Point of View - The need for commentary......................................................................................... 44 3. 5 Investigating models of practice............................................................................. 45 3.6 A model for playwriting ............................................................................................ 48 Playwriting: The Structure of Action by Sam Smiley (with Norman A. Bert) ...................... 48 Overview........................................................................................................................................................ 48 (1) Creative compulsion............................................................................................................................ 48 (2) Germinal Idea........................................................................................................................................ 48 (3) Collecting Materials............................................................................................................................ 49 (4) Thinking Through ................................................................................................................................ 49 (5) Rough Scenario..................................................................................................................................... 49 (6) Final Scenario........................................................................................................................................ 49 (7) Drafting ................................................................................................................................................... 49 (8) Revision................................................................................................................................................... 49 iv 3.7 A summary of useful analytical tools......................................................................50 4 PRACTICE-LED METHODOLOGY.......................................................................52 4.1 Methodological Paradigms: .....................................................................................52 4.1.1 Reflective practice................................................................................................................ 52 4.1.2 Practice-led research ....................................................................................................... 56 5. PREPARATIONS FOR PROJECT 1: Perfect Skin..............................................58 5.1 Introduction to the Adaptation of Perfect Skin ....................................................58 5.1.1 Reading the novel............................................................................................................ 59 5.1.2 Finding the story .............................................................................................................. 61 5.1.3 Finding the conflict .......................................................................................................... 62 5.1.4 Collecting materials......................................................................................................... 63 5.1.5 Constructing a scenario .................................................................................................. 64 5.1.6 First draft........................................................................................................................... 64 5.1.8 Feedback and revision..................................................................................................... 65 6. PLAYSCRIPT: ADAPTATION OF PERFECT SKIN...............................................67 ACT 1.......................................................................................................................................67 ACT 2...................................................................................................................................
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