Sources
BIBLIOGRAPHY
Key Sources
Time Binds
by Elizabeth Freeman
Freeman's concepts of "erotohistoriography" and "temporal drag" are the foundation of my understanding how the practice of adaptation can be used subversively to reveal our orientation towards the past (see Ahmed).
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Performing Remains
by Rebecca Schneider
Schneider's understanding of time in the context of historical re-enactments is useful to my discussion of a non-linear view of time that allows multiple temporalities to subvert a hegemonic linear view.
Notes on 'Camp'
by Susan Sontag
Sontag's definitive essay "Notes on 'Camp'" as well as some of its more contemporary critiques (see LaBruce) have shaped my thinking around the use of camp as mora than just a stylistic choice in ECHO.
Productions
Birch, A. (2016). Ophelias Zimmer . Katie Mitchell dir. Schaubunhe, Berlin. Available at: https://vimeo.com/288228141/62b75e622c [Accessed 21 April 2020].
Carding, E. (2019). hamlet (an experience). Kolbrún Björt Sigfúsdóttir dir. The Hope Theatre, London. First performance: November 24, 2019.
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Crouch, T. (2020). I, Cinna. Naomi Wirthner dir. Unicorn Theatre, London. First performance: February 5, 2020.
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Kneehigh (2019). Ubu!. Created by the company. Shoreditch Town Hall, London. First performance: December 4, 2020.
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Malloy, D. (2019). Ghost Quartet. Bill Buckhurst dir. Boulevard Theatre, London. First performance: October 24, 2019.
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Shakespeare, W. (2015). Hamlet. Lyndsey Turner dir. The National Theatre, London. First performance: March 2015.
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Shakespeare, W. (2017). Hamlet. Robert Icke dir. Harold Pinter Theatre, London: Almeida Theatre. NT Live Broadcast: March 2018.
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Shakespeare, W. (2017). Hamlet. Federay Holmes & Elle While dir. The Globe Theatre, London. Available at: https://www.youtube.com/user/ShakespearesGlobe [Accessed 6 April 2020].
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Bibliography
Ahmed, S. (2018). Notes on Feminist Survival. [Blog] feministkilljoys. Available at: https://feministkilljoys.com/2018/03/27/notes-on-feminist-survival/ [Accessed 17 Apr. 2019].
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Ahmed, S. (2014). Queer phenomenology. Johanneshov: MTM, pp.1-63.
Alexander, N. (1971). Poison, play and duel. London: Routledge.
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Bevington, D. M. (2011). Murder most foul. Oxford: Oxford University Press.
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Brook, P. (2014). Evoking (and forgetting) Shakespeare. London: Nick Hern Books.
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Brown, S. (2013). Reinventing the Renaissance: Shakespeare and his contemporaries in adaptation and performance. Springer.
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Butler, J. (2011). Gender trouble. Routledge.
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Cahir, L. C. (2014). Literature into film. McFarland.
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Campbell, A. (2016). Queer dramaturgies. Springer.
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Carlson, M. (2006). The haunted stage. Ann Arbor: University of Michigan Press.
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Carroll, R. (2009). Adaptation in contemporary culture. London: A&C Black.
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Cartmell, D. (2013). Adaptations: from text to screen, screen to text. Routledge.
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Cartmell, D. (2012). A companion to literature, film, and adaptation. John Wiley & Sons.
Castiglia, C., & Reed, C. (2012). If memory serves, gay men, AIDS and the promise of the queer past. Minneapolis: University of Minnesota Press.
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Cavendish, D. (2020). The Woke Brigade Are Close To ‘cancelling’ Shakespeare [online]. Available from: https://www.telegraph.co.uk/theatre/what-to-see/woke-brigade-close-cancelling-shakespeare/ (Accessed 23 February 2020).
Demory, P. (2019). Queer/Adaptation. Springer.
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Dobrin, A. (2013). Your Memory Isn't What You Think It Is. [online] Psychology Today. Available at: https://www.psychologytoday.com/gb/blog/am-i-right/201307/your-memory-isnt-what-you-think-it-is [Accessed 2 Feb. 2020].
Doran, G. (2020). Why Shakespeare Was ‘woke’ To Begin With [online]. Available from: https://www.telegraph.co.uk/theatre/what-to-see/shakespeare-woke-begin/ (Accessed 23 February 2020).
Edelstein, B. (2018). Thinking Shakespeare (Revised Edition). Theatre Communications Group.
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Farrier, S. (2018). ‘Re-membering AIDS, Dis-membering Form’, in Alyson Campbell & Dirk Gindt (eds.) Viral Dramaturgies. Springer. pp. 155–174.
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Fisher, T. and Katsouraki, E. (2019). Beyond failure. London: Routledge, pp.1-19.
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Freeman, E. (2000). Packing History, Count(er)ing Generations. New Literary History. [Online] 31 (4), 727–744. [online]. Available from: 10.1353/nlh.2000.0046 (Accessed 24 February 2020).
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Freeman, E. (2010). Time Binds. Durham: Duke University Press.
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Georgieva, A. (2019-2020). Personal Journal. MFA SIP. Royal Central School of Speech and Drama. Unpublished.
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Georgieva, A. (2020). Adieu, adieu, re-member me: a queer-forward practice of adaptation: exploring feminist and queer temporalities. Royal Central School of Speech and Drama. Unpublished.
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Halberstam, J. (2011). The queer art of failure. Durham [NC]: Duke University Press, pp.124-145.
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Horn, K. (2017) Women, camp, and popular culture. Springer.
Hutchinson, L. (2006). A theory of adaptation. Routledge.
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Knopf, R. (2017). The director as collaborator. Taylor & Francis.
Komporaly, J. (2017). Radical revival as adaptation. Springer.
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LaBruce, B. (2015). Notes On Camp/Anti Camp [online]. Available from: http://brucelabruce.com/2015/07/07/notes-on-camp-anti-camp/ (Accessed 28 May 2020).
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Lavender, A. (2003). Hamlet in pieces: Shakespeare reworked. A&C Black.
Leitch, T. (2012). ‘Adaptation and Intertextuality, or, What Isn’t an Adaptation and What Does it Matter’, in Deborah Cartmell (ed.) A Companion to Literature, Film, and Adaptation. John Wiley & Sons. pp. 87–104.
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Leitch, T. M. (2017). The Oxford handbook of adaptation studies. Oxford University Press.
Müller, H. (1992). Hamletmachine and other texts for the stage. New York: Performing Arts Journal Publ.
Packer, T. (2015). Women of Will. Vintage.
Reilly, K. (2014). "Two Venuses: Historicizing the anatomical female body". Performance Research. [Online] 19 (4), 111–121. [online]. Available from: 10.1080/13528165.2014.947129 (Accessed 21 April 2020).
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Reilly, K. (2017). Contemporary approaches to adaptation in theatre. Springer.
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Rich, A. (1972). When we dead awaken: writing as re-vision. College English. [Online] 34 (1), 18. [online]. Available from: 10.2307/375215 (Accessed 23 February 2020).
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Roach, J. (1996). Cities of the dead. New York: Columbia Univ. Press.
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Sanders, J. (2015). Adaptation and appropriation. Routledge.
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Saunders, G. (2017). Elizabethan and Jacobean reappropriation in contemporary British drama. Palgrave.
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Schechner, R. (2017). Performance studies. 3rd edition. Routledge.
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Schneider, R. (2011). Performing remains. Taylor & Francis.
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Sidiropoulou, A. (2011). Authoring performance. Springer.
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Shakespeare, W. (n.d.) Hamlet [online]. Available from: http://shakespeare.mit.edu/hamlet/full.html (Accessed 27 April 2020).
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Showalter, E. (2016). Ophelia, gender and madness. [online] The British Library. Available at: https://www.bl.uk/shakespeare/articles/ophelia-gender-and-madness [Accessed 2 Feb. 2020].
Sontag, S. (1967). Against interpretation, and other essays. 3rd ed. New York: Farrar, Straus & Giroux.
Sontag, S. (2018, [1966]). Notes on camp. Penguin UK.
WyspiaÅ„ski, S. (2019). The Hamlet study and the death of Ophelia. London: Shakespeare’s Globe.