Adaptation Considered as a Collaborative Art

Chapter 1 Introduction

Chapter 2 Collaborating with the Dead: Adapters as Secret Agents

Chapter 3 playing ‘the maids’: Devising an Adaptation—Collaboration and the Actor’s Process

Chapter 4 The Not-So-Singular Life of Albert Nobbs

Chapter 5 Adaptation, Devising and Collective Creation: Tracing Histories of Pat McCabe’s The Butcher Boy on Stage

Chapter 6 The Alien World of Objects: Stanley Kubrick’s The Killing

Chapter 7 Adapting History in the Docupoetry of Lorna Dee Cervantes and Script Poems of Danez Smith and Claudia Rankine

Chapter 8 “His world had vanished long before he entered it”: Wes Anderson’s Homage to Stefan Zweig

Chapter 9 Collaborative Art with Political Intent: The 1933 Adaptation of Theodor Storm’s Der Schimmelreiter/The Rider on the White Horse (1888)

Chapter 10 Adapting Hein’s Willenbrock: Andreas Dresen and the Legacy of the GDR ‘Ensemble’ Tradition

Chapter 11 Same Player, Shoot Again: Géla Babluani’s 13 (Tzameti), Transnational Auto-Remakes, and Collaboration

Chapter 12 Anselm Kiefer’s Signature: Or—Adapting God

Chapter 13 Adaptation as Arguing with the Past: The Case of Sherlock

Chapter 14 The Prestige Novelisation of the Contemporary Television Series: David Hewson’s The Killing

Chapter 15 Things You Can Do to an Author When He’s Dead: Literary Prosthetics and the Example of Heinrich von Kleist

Chapter 16 Collaborating with the Dead, Playing the Shakespeare Archive; Or, How to Avoid Being Pushed from Our Stools