Jane Barnette - Academia.edu (original) (raw)
Papers by Jane Barnette
Routledge eBooks, Nov 23, 2023
Routledge eBooks, Nov 23, 2023
Routledge eBooks, Nov 23, 2023
Routledge eBooks, Nov 23, 2023
Witch Fulfillment: Adaptation Dramaturgy and Casting the Witch for Stage and Screen
Theatre History Studies, 2021
Text and Performance Quarterly, Oct 1, 2009
As a New York theatre critic recently noted, in reference to Orson Welles\u27 Moby Dick Rehearsed... more As a New York theatre critic recently noted, in reference to Orson Welles\u27 Moby Dick Rehearsed, it takes a fool or perhaps a genius to adapt one of the greatest American novels for the stage. John Gentile, chair of the Department of Theatre and Performance studies at Kennesaw State University, has dared to tackle this Leviathan work in a new stage adaptation, developed over the last five years
Theatre Journal, 2009
demonstrates that marginalization—as well as the inclusionary and exclusionary, thus subjective, ... more demonstrates that marginalization—as well as the inclusionary and exclusionary, thus subjective, power of historians’ pens—can radically distort theatre history. One must applaud his efforts to repair the damage by discovering omissions and filling in the blanks. For me, the marginalization of Wilson parallels my experiences of the marginalization of rural American theatre practitioners, and one might find connections in other areas of theatre research as well. Burch’s use of abbreviations (for instance, APW for Andrew P. Wilson, SNP for Scottish National Players, and so on) and his overly thorough plot summaries become a little distracting at times; however, these are minor criticisms when compared with the author’s accomplishments in this work.
Modern Drama, Jun 1, 2023
This essay proposes adaptation as a teaching strategy with which students can explore deeper unde... more This essay proposes adaptation as a teaching strategy with which students can explore deeper understandings of any drama, using the case study of Medea by Euripides. By assigning comparative analysis of (translations of) Euripides’ play alongside two twenty-first century adaptations written by Chicanx playwrights Luis Alfaro (Mojada) and Cherríe Moraga (The Hungry Woman), I invite students to uncover dramaturgical discoveries through considerations of what I have called “the spirit of the source,” alongside analyses of the palimpsestuousness of the dramas and my spectator-based model of adapturgy. I argue that Medea’s traits and actions of unbecoming emerge as a thread connecting all versions of the eponymous plays, a theme rarely recognized by students without the revelations provided by adaptation pedagogy.
Routledge eBooks, Nov 23, 2023
Theatre Journal, Mar 1, 2022
TikTok Cultures in the United States, Mar 28, 2022
Theatre Journal
The Scarlet Witch is not born; she is forged. She has no coven or need for incantation. Your powe... more The Scarlet Witch is not born; she is forged. She has no coven or need for incantation. Your power exceeds that of the Sorcerer Supreme. It is your destiny to destroy the world.-Agatha Harkness (Kathryn Hahn) to Wanda Maximoff, in WandaVision When WandaVision was released in early 2021 as part of the Disney+ service, the producers did the unthinkable: they dropped only the first two episodes, choosing to premiere the remaining episodes each Friday thereafter. Of course, this approach was only unusual because home-entertainment practices have changed, especially following the pandemic and stay-at-home orders: viewers typically binge their favorite television shows, consuming as many episodes in a row as they can. The weekly release schedule forced fans to experience WandaVision the way that classic episodic television used to be consumed, allowing for "water-cooler conversations" to occur with coworkers (or anonymous fans online) between episodes, a practice that encourages predictions and detailed analysis rather than the "hot take" summaries or "tweet along" binge-fests viewers expect with streaming services like Netflix, HBO, and the like. This slower consumption model not only drew attention to the series, by drawing out the discovery process and encouraging fan conversation, but it also mirrored the premise of the series itself: "a TV show about some TV shows. .. that is a TV show, watched by characters inside a TV show." 1 To call WandaVision "meta" underestimates the levels of self-conscious reflexivity that abound within the larger Marvel Cinematic Universe (MCU), where referentiality and citation form the very foundation upon which stories are told. Not only do the films pick up on storylines from one another, but they exist within a universe-a multiverse-that includes decades of comic-book iterations of these characters and
Teaching Performance Practices in Remote and Hybrid Spaces
Routledge eBooks, Nov 23, 2023
Routledge eBooks, Nov 23, 2023
Routledge eBooks, Nov 23, 2023
Routledge eBooks, Nov 23, 2023
Witch Fulfillment: Adaptation Dramaturgy and Casting the Witch for Stage and Screen
Theatre History Studies, 2021
Text and Performance Quarterly, Oct 1, 2009
As a New York theatre critic recently noted, in reference to Orson Welles\u27 Moby Dick Rehearsed... more As a New York theatre critic recently noted, in reference to Orson Welles\u27 Moby Dick Rehearsed, it takes a fool or perhaps a genius to adapt one of the greatest American novels for the stage. John Gentile, chair of the Department of Theatre and Performance studies at Kennesaw State University, has dared to tackle this Leviathan work in a new stage adaptation, developed over the last five years
Theatre Journal, 2009
demonstrates that marginalization—as well as the inclusionary and exclusionary, thus subjective, ... more demonstrates that marginalization—as well as the inclusionary and exclusionary, thus subjective, power of historians’ pens—can radically distort theatre history. One must applaud his efforts to repair the damage by discovering omissions and filling in the blanks. For me, the marginalization of Wilson parallels my experiences of the marginalization of rural American theatre practitioners, and one might find connections in other areas of theatre research as well. Burch’s use of abbreviations (for instance, APW for Andrew P. Wilson, SNP for Scottish National Players, and so on) and his overly thorough plot summaries become a little distracting at times; however, these are minor criticisms when compared with the author’s accomplishments in this work.
Modern Drama, Jun 1, 2023
This essay proposes adaptation as a teaching strategy with which students can explore deeper unde... more This essay proposes adaptation as a teaching strategy with which students can explore deeper understandings of any drama, using the case study of Medea by Euripides. By assigning comparative analysis of (translations of) Euripides’ play alongside two twenty-first century adaptations written by Chicanx playwrights Luis Alfaro (Mojada) and Cherríe Moraga (The Hungry Woman), I invite students to uncover dramaturgical discoveries through considerations of what I have called “the spirit of the source,” alongside analyses of the palimpsestuousness of the dramas and my spectator-based model of adapturgy. I argue that Medea’s traits and actions of unbecoming emerge as a thread connecting all versions of the eponymous plays, a theme rarely recognized by students without the revelations provided by adaptation pedagogy.
Routledge eBooks, Nov 23, 2023
Theatre Journal, Mar 1, 2022
TikTok Cultures in the United States, Mar 28, 2022
Theatre Journal
The Scarlet Witch is not born; she is forged. She has no coven or need for incantation. Your powe... more The Scarlet Witch is not born; she is forged. She has no coven or need for incantation. Your power exceeds that of the Sorcerer Supreme. It is your destiny to destroy the world.-Agatha Harkness (Kathryn Hahn) to Wanda Maximoff, in WandaVision When WandaVision was released in early 2021 as part of the Disney+ service, the producers did the unthinkable: they dropped only the first two episodes, choosing to premiere the remaining episodes each Friday thereafter. Of course, this approach was only unusual because home-entertainment practices have changed, especially following the pandemic and stay-at-home orders: viewers typically binge their favorite television shows, consuming as many episodes in a row as they can. The weekly release schedule forced fans to experience WandaVision the way that classic episodic television used to be consumed, allowing for "water-cooler conversations" to occur with coworkers (or anonymous fans online) between episodes, a practice that encourages predictions and detailed analysis rather than the "hot take" summaries or "tweet along" binge-fests viewers expect with streaming services like Netflix, HBO, and the like. This slower consumption model not only drew attention to the series, by drawing out the discovery process and encouraging fan conversation, but it also mirrored the premise of the series itself: "a TV show about some TV shows. .. that is a TV show, watched by characters inside a TV show." 1 To call WandaVision "meta" underestimates the levels of self-conscious reflexivity that abound within the larger Marvel Cinematic Universe (MCU), where referentiality and citation form the very foundation upon which stories are told. Not only do the films pick up on storylines from one another, but they exist within a universe-a multiverse-that includes decades of comic-book iterations of these characters and
Teaching Performance Practices in Remote and Hybrid Spaces