Adapting King Lear for the Stage
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A01=Lynne Bradley
acres
Act III
adaptations
Author_Lynne Bradley
Barker's Play
Barker’s Play
burlesques
Category=ATD
Category=DDA
Category=DS
Category=DSB
Category=DSBF
Category=DSBH
Category=DSG
Character Criticism
double
Double Gesture
dramatic rewriting theory
Edward Bond
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eq_biography-true-stories
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feminist theatre analysis
gender representation drama
gesture
goodnight
Goodnight Desdemona
historicity in performance
Howard Barker
King Lear
King Lear Story
King Lear's Wife
King Lear’s Wife
Lear's Daughters
lears
Lear’s Daughters
literary heritage critique
modern reinterpretations of Shakespeare plays
Objectivist Character Criticism
Peter Holland
Richard III
shakespeare
Shakespeare Adaptations
Shakespeare Burlesques
Shakespeare's Characters
Shakespeare's Heroines
Shakespeare's Status
Shakespeare's Universality
Shakespearean adaptation studies
Shakespeare’s Characters
Shakespeare’s Heroines
Shakespeare’s Status
Shakespeare’s Universality
Stoppard's Play
Stoppard’s Play
Tate's Lear
Tate’s Lear
thousand
wife
Women's Re-Visions
Women's Theatre Group
Women’s Re-Visions
Women’s Theatre Group
Young Man
Product details
- ISBN 9781138381148
- Weight: 453g
- Dimensions: 156 x 234mm
- Publication Date: 10 Jun 2019
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Paperback
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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.
Lynne Bradley received her PhD from the University of Victoria, Canada. She works as an independent researcher in Toronto.
