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In Canada, adaptation is a national mode of survival, but it is also a way to create radical change. Throughout history, Canadians have been inheritors and adaptors: of political systems, stories, and customs from the old world and the new. More than updating popular narratives, adaptation informs understandings of culture, race, gender, and sexuality, as well as individual experiences. In Political Adaptation in Canadian Theatre Kailin Wright investigates adaptations that retell popular stories with a political purpose and examines how they acknowledge diverse realities and transform our past. Political Adaptation in Canadian Theatre explores adaptations of Canadian history, Shakespeare, Greek mythologies, and Indigenous history by playwrights who identify as English-Canadian, African-Canadian, French-Canadian, French, Kuna Rappahannock, and Delaware from the Six Nations. Along with new considerations of the activist potential of popular Canadian theatre, this book outlines eight strategies that adaptors employ to challenge conceptions of what it means to be Indigenous, Black, queer, or female. Recent cancellations of theatre productions whose creators borrowed elements from minority cultures demonstrate the need for a distinction between political adaptation and cultural appropriation. Wright builds on Linda Hutcheon's definition of adaptation as repetition with difference and applies identification theory to illustrate how political adaptation at once underlines and undermines its canonical source. An exciting intervention in adaptation studies, Political Adaptation in Canadian Theatre unsettles the dynamics of popular and political theatre and rethinks the ways performance can contribute to how one country defines itself.

Political plays.

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Families --- Political plays --- Ireland

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How does protest engage with theatre? What does theatre have to gain from protest?Theatre and protest are often closely interlinked in the contemporary cultural and political landscape, and the line between protest and performance is often difficult to draw. Yet this relationship is also beset with doubts about theatre's capacity to intervene in the social world. This fresh and insightful text thinks through the intersections and tensions between theatre and protest. Exploring the cross-fertilization of international theatre and protest across the 12th and 21st centuries, Lara Shalson illuminates how and why these two are mutually influencing and enriching forms.

Theater --- Theater --- Theater --- Theater --- Political plays --- Political plays

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Political plays, Turkish --- Turkish drama

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Palestinian theater today is drawing increasing interest throughout the Arab world and beyond, as theaters and universities in the English-speaking world are becoming familiar with companies like the Freedom Theatre, Al-Kasaba Theatre, Ashtar, Al-Rowwad, Yes Theatre, Al-Harah, and the Palestinian National Theatre. This volume for the first time presents contemporary plays from a number of Palestinian theatres in English. The collection offers a rare look into the dynamic life of contemporary Palestinian theater. The works gathered here arise directly from the physical and psychological realities of the occupation, combining activism and critical self-inquiry. The anthology represents both the micro-political geography and theatrical institutions of Palestine, covering the West Bank from the farthest north to the farthest south, the Galilee, Gaza, and Jerusalem. What emerges is the range of contemporary Palestinian national identity as expressed in the content, styles and institutions of its theater. As part of the In Performance series, the plays in this anthology will be of interest to those who want to produce new work, read diverse dramatic and performance literature, and understand the ways in which theater contributes to international discussions of culture, rights, history, and more.

Political plays. --- Political plays. --- Political plays. --- Théâtre politique. --- Eretz Israel --- Middle East --- Palestine