Abstract
Bosnian Literary Adaptations on Stage and Screen reconciles theoretical approaches to adaptation with theatrical and cinematic practices. The book is informed by scholarship in film and theatre adaptation theories and is grounded in a comparative approach that focuses on the interplay of sign systems and codes unique to screen and stage.
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Notes
- 1.
In the framework of this investigation, the terms language and code will be distinguished based on hierarchy. Film and theatre communication process involves a multiplicity of coding by virtue of various communicative channels, acoustic or visual. Each of the codes has its autonomous rules for the combination and selection of its units. At the higher level of integration, the units belonging to various codes are combined to create a complex interplay of codes.
- 2.
The Fortress/Tvrđava was first published in 1970 (Sarajevo: Svjetlost) and The Island/Ostrvo in 1974 (Beograd: Prosveta). The Fortress was translated into French in 1981 (trans. Jean Descet and Simone Meuris, Paris: Gallimard). In 1983 The Island was translated into English (trans. Jeanie Shaterian, Toronto: Serbian Heritage Academy of Canada). The English translation of The Fortress (trans. Edward Dennis Goy and Jasna Levinger-Goy) was published by Northwestern University Press in 1999. I did not include other translations of Selimović’s works.
- 3.
In Bosnia and Herzegovina, there have been many adaptations of The Fortress for stage and screen. The following are some notable adaptations: The Sarajevo National Theatre (1971 dir. Jovan Putnik); The Mostar National Theatre (1988, Darko Lukić and Ahmet Obradović); The Sarajevo National Theatre (1993, dir. Ahmet Obradović); The Sarajevo National Theatre (2003, dir. Sulejman Kupusović). The novel Death and the Dervish was adapted for screen in 1974 (dir. Zdravko Velimirović). Death and the Dervish was adapted for stage by Borislav Mihajlović–Mihiz (1970).
- 4.
In the novel, the unnamed island is actually the island Brač in Croatia. It can be inferred from the toponym Vidova gora (Vidova Mountain) mentioned in the novel.
- 5.
Stam ads that the concept of chronotope is “even more appropriate to film than literature” as “literature plays itself within a virtual, lexical space [while]the cinematic chronotope is quite literal, splayed out concretely across a screen with specific dimensions and unfolding in literal time (usually 24 frames per second), quite apart from the fictive time-space constructed by specific films” (Stam et al. 1992, pp. 217–218).
Selected Bibliography
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Cutchins, Dennis. 2017. Bakhtin, Intertextuality, and Adaptation. In Oxford Handbook of Adaptation Studies, ed. Leitch, Thomas M., 86–101. Online Publication. New York: Oxford University Press.
Kott, Jan. 1964. Shakespeare, Our Contemporary. New York. London: W. W. Norton & Company.
Bal, Mieke. 2017. Intership: Anachronism between Loyalty and the Case. In Oxford Handbook of Adaptation Studies, ed. Leitch, Thomas M., 198–217. Online Publication. New York: Oxford University Press.
Stam, Robert. 2000. Film Theory an Introduction. Oxford: Blackwell Publishing.
Stam, Robert, Burgoyne, Robert, and Flitterman-Lewis, Sandy. 1992. New Vocabularies in Film Semiotics. Structuralism, Poststructuralism, and Beyond. London and New York: Routledge.
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Garić-Komnenić, S. (2024). Introduction. In: Bosnian Literary Adaptations on Stage and Screen. Adaptation in Theatre and Performance. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-031-47134-6_1
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