This dissertation takes as its premise the belief that privileging the text of a play as the site
of meaning is inadequate, given the social nature of theatre. This privileging is evident in the low
critical opinion of dramatic adaptations of prose works: the dramatic text, incomplete by nature,
cannot compete with the self-sufficient narrative text which it adapts. Rather, as described in the
introductory chapter, the socio-historical context of a production must be investigated to flesh out
the meaning of the text. Four theatrical adaptations of Franz Kafka's novel Der Prozefi (1925)
illustrate a history not only of Kafka reception, but also of society, politics and theatrical practice
in Europe and North America.
The first adaptation, Le Proces (1947), by Jean-Louis Barrault and Andre Gide, is interpreted
in the second chapter in the context of post-Occupation tensions in France, including a sense of guilt
left by collaboration. Against an intellectual backdrop of existentialism and absurdism, Le Proces
renders Joseph K. as a Jewish victim of unjust authorities.
The third chapter describes actor/playwright Steven Berkoff’s antipathy to the middle-class
conformism of 1970s Britain, which turns his adaptation, The Trial (1973), into a highly personal
protest in which K. is destroyed by bourgeois "mediocrity."
Peter Weiss's German adaptation, Der Prozefi (1975), treated in the fourth chapter, attempts
more sweeping Marxist social criticism, depicting Kafka's world as a historically specific Eastern
Europe in the days leading up to the Great War: K. is a bank employee who, by refusing to ally
himself with the workers, seals his own fate under exploitative capitalism.
Finally, Sally Clark's Canadian The Trial of Judith K. (1989) is described in the fifth chapter
as a cross-gender revision of the novel reflecting both a feminist critique of male oppression and the
freedom of interpretation of canonical works enabled by North America's relative intellectual
isolation from the canon's European roots. K., as a victim of patriarchy, is a woman.
The diversity of these four adaptations pleads for the acceptance of dramatic adaptation as
a creative form of interpretation, rather than as an ill-advised misappropriation, of its source. / Graduate and Postdoctoral Studies / Graduate
| Identifer | oai:union.ndltd.org:UBC/oai:circle.library.ubc.ca:2429/6790 |
| Date | 11 1900 |
| Creators | Malone, Paul Matthew |
| Source Sets | University of British Columbia |
| Language | English |
| Detected Language | English |
| Type | Text, Thesis/Dissertation |
| Format | 19676977 bytes, application/pdf |
| Rights | For non-commercial purposes only, such as research, private study and education. Additional conditions apply, see Terms of Use https://open.library.ubc.ca/terms_of_use. |
Page generated in 0.0191 seconds