Přehled o publikaci

Theory of adaptation, by definition, rests on the known and the recognizable – i.e., on what is being iterated. The semantic focus of such a theory is logically the new: the innovation, the variation, the shift. And yet, theory keeps returning back to what is known and what is repeated. In other words, the point of departure determines the result. This is a fundamental problem not only methodologically, but also epistemically. How can we analyse and discuss adaptation without enclosing the theory within a logocentric framework, and instead allow the theory to derive not from the iteration but from the unique creative act of adaptation? On several case studies from contemporary theatre practice, this essay offers a few suggestions that refocus adaptation theory towards what is unique in the theatre: the concretization of the art work in the performance itself.