Adapturgy: The Dramaturg's Art and Theatrical Adaptation by Jane Barnette (review)

Jane Barnette's Adapturgy is a welcome addition to adaptation and dramaturgy scholarship that highlights aspects of theory and practice previously overlooked or little analyzed in either field. Structured in three parts, with invaluable material on interviews and program notes the writer generously shares with her readers in appendices, the book is useful to a multitude of readers.

The first chapter carefully provides a trajectory of adaptation scholarship, clearly drawing the book's significance: Barnette presents a genealogy of adaptation studies that includes US artists and scholars. This geographical adjustment widens adaptation scholarship considerably, given that the writer's outlook interweaves adaptation studies with Northwestern University's tradition of oral interpretation and performance. The refreshing and enriching critical presentation of dominant views in the field further strengthens Barnette's introductory section. In the second chapter, Barnette exercises the same diligence for dramaturgy and clearly makes her mark as a dramaturg. The trajectory of dramaturgy education in the United States is particularly useful. In chapter 3, the writer develops her well-thought-out argument on adapturgy. Looking at the adaptation and dramaturgy together, she argues, provides theorists and practitioners with more ways to focus on how plays are received by their audiences.

As in other parts of the book, and adding to the pedagogical dimension seen throughout, Barnette consistently explains theoretical terms for any level of reader. In chapter 4, she breaks down "palimpsest" as she traces the trajectory of the term in adaptation studies, before turning to her case study, the Elevator Repair Service's adaptation of Faulkner's The Sound and the Fury. This is a fascinating and enlightening treatise on adaptation dramaturgy methodology, in its details about the process and the resulting relationship with the company's audience. My reading of this particular case study was influenced by an unusual trajectory, afforded by the book's rich paratextual material: I perused the interview first and then read Barnette's analysis; I experienced, therefore, the writer's careful weaving of the responses as she constructed her argument. This process ideally showcases the writer's mastery over her material. In chapter 5, using the film Birdman as metaphor, Barnette explains the case study's relevance to her overarching argument. The writer pulls together intriguing sources, but I must admit I could not clearly see how this multilayered, mediated example, which functions more as a conceptual analysis of adaptation, fits into her larger project. Still, her careful reading of a rather provocative film makes for an engaging chapter. Chapter 6, "Geographies of Adaptation," is devoted to the challenges of space and location in adaptation dramaturgy, particularly as these relate to scenic versions of novels. Barnette uses stage adaptations of Moby-Dick as examples of overcoming these challenges in staging an admittedly demanding source. Of great importance, the author provides often overlooked examples of collaboration between the dramaturg/adapter and director and designer team.

In chapter 7, the first in the section devoted entirely to practice, Barnette delves into the particulars of her own and Michael Haverty's adaptation of The Red Badge of Courage. It is interesting to see how practical experience informs Barnette's theoretical analysis, developed earlier in the book. In particular, I was intrigued by her example of the much-contested "spirit of the source," which, as the author aptly argues, may well be found beyond the words in the "original." As part of discussing ways to interact with audiences, per her own statement, Barnette begins chapter 8 with various considerations of how adaptation dramaturgy informs casting decisions. She analyzes uses and examples of paratextual information surrounding the production, whether in the physical space of the performance or in the digital realm. Using a wide variety of examples, the writer highlights the collaborative aspect of adaptation dramaturgy. In the last chapter, titled "Postmortem Dramaturgy," Barnette returns to the important question of "why this source as theatre now," and more specifically, "why adaptation dramaturgy...