Prefaced by a brief summary of the body of work devoted to Robert Lepage’s devised oeuvre, this section notes the limitations of scholarship surrounding his stagings of canonical texts and outlines what a full-length study interrogating the Québécois auteur’s non-logocentric approach to adapting extant texts, which I’ve termed scenographic dramaturgy, can offer. In this introductory gloss, scenographic dramaturgy is unpacked as it applies to non-text-based forms of adaptation and is contextualized amidst calls for new dramaturgical forms. The introduction concludes by positing how the book will contribute to the growing body of contemporary research devoted to adaptation and, more broadly, the process of making a performance (and not solely the product of this work).
- ———. 2010. On directing and dramaturgy: Burning the house. New York and London: Routledge.Google Scholar
- Caux, Patrick, and Bernard Gilbert. 2007. Ex Machina: Chantiers D’écriture scénique. Sillery, Québec: Septentrion.Google Scholar
- Defraeye, Piet. 2000. ‘The Staged Body in Lepage’s Musical Productions’. In Theatre Sans Frontières: Essays on the Dramatic Universe of Robert Lepage, edited by Joseph I. Donohoe Jr. and Jane M. Koustas, 79–94. East Lansing: Michigan State University Press.Google Scholar
- Fink, Jerry. 2004. ‘Cirque du Soleil Spares No Cost with “KA”’. Las Vegas Sun, September 16, http://www.lasvegassun.com/news/2004/sep/16/cirque-du-soleilspares-no-cost-with-ka/. Accessed 1 April 2013.
- Fischlin, Daniel, and Mark Fortier. 2000. Adaptations of Shakespeare: A Critical Anthology of Plays from the Seventeenth Century to the Present. London: Routledge.Google Scholar
- Fouquet, Ludovic. 2014. The Visual Laboratory of Robert Lepage. Trans. Rhonda Mullins. Vancouver: Talonbooks.Google Scholar
- Freeman, Barry. 2013. ‘Robert Lepage among the Huron-Wendat: An(other) Aboriginal Treatment of The Tempest’. In Renaissance Shakespeare: Shakespeare Renaissances, edited by Martin Prochazka, Michael Dobson, Andreas Hofele, and Hanna Scolnicov, 279–85. Delaware: University of Delaware Press.Google Scholar
- Fricker, Karen. 2008. ‘Robert Lepage’. In The Routledge Companion to Director’s Shakespeare, edited by John Russell Brown, 233–50. London: Routledge.Google Scholar
- Hodgdon, Barbara. 1996. ‘Looking for Mr. Shakespeare after “The Revolution”: Robert Lepage’s Intercultural Dream Machine’. In Shakespeare, Theory and Performance, edited by James C. Bulman, 71–94. London: Routledge.Google Scholar
- Hutcheon, Linda. 2006. A Theory of Adaptation. New York: Routledge.Google Scholar
- Johnson, Lise-Ann. 2001. ‘Shakespeare’s Rapid Eye Movement’. In The Production Notebooks: Theatre in Process, vol. 2, edited by Mark J. Bly, 73–139. New York: Theatre Communications Group.Google Scholar
- Lavender, Andy. 2001. Hamlet in Pieces: Shakespeare Reworked: Peter Brook, Robert Lepage and Robert Wilson. London: Nick Hern.Google Scholar
- Millington, Barry. 2007. ‘“Faithful, all too faithful”: Fidelity and Ring Stagings’. The Opera Quarterly 23 (2–3): 265–76.Google Scholar
- Murray, Simone. 2012. The Adaptation Industry: The Cultural Economy of Contemporary Literary Adaptation. New York: Routledge.Google Scholar
- Pegley, Karen, and Catherine Graham. 2002. ‘Visualizing the Music: Robert Lepage’s Staging of Bluebeard’s Castle and Erwartung for the Canadian Opera Company’. Canadian Theatre Review 109: 73–7.Google Scholar
- Poll, Melissa. (2014). ‘Adapting “Le Grand Will” in Wendake: Ex Machina and the Huron-Wendat Nation’s La Tempête’. Theatre Research in Canada, 35 (3): 330–351.Google Scholar
- Safty, Adel. 1991. ‘French Immersion in Canada: Theory and Practice’. International Review of Education/Internationale Zeitschrift für Erziehungswissenschaft/Revue Internationale de l’Education 37 (4): 473–88.Google Scholar
- Sanders, Julie. 2006. Adaptation and Appropriation. London: Routledge.Google Scholar
- Turner, Cathy, and Synne K. Behrndt. 2008. Dramaturgy and Performance. Basingstoke: Palgrave Macmillan.Google Scholar
- Wakin, Daniel J. 2008. ‘Techno-Alchemy at the Opera’. The New York Times, November 6,http://www.nytimes.com/2008/11/07/arts/music/07faus.html. Accessed 26 August 2013.