“Shaw and Adaptation”
A Special Shaw
Session at MLA
Chicago, January
9-12, 2014
Deadline: March 15, 2013
Presiding: Lawrence Switzky,
University of Toronto
The Modern Language Association Convention scheduled for
Chicago in January of 2014 will feature another Special Shaw Session. To
participate as a speaker, please send a 300-word abstract and CV to Lawrence Switzky at lawrence.switzky@utoronto.ca by March 15, 2013. Proposals and
queries are welcome before the deadline. You of course have to be a member
of MLA to deliver a paper, but you do not have to be a member to attend the
session, as follows:
Topic: “Shaw and Adaptation”
Many audiences first encounter Bernard Shaw’s plays through
their transformations into other genres and media. Lerner and Loewe’s My Fair Lady (1956) is perhaps the
most famous adaptation of Shaw’s Pygmalion (1912),
though the current standard print edition of the play is also an adaptation, a
hybrid of Shaw’s Academy Award-winning screenplay for the 1938 film and his
original and revised stage scripts.
This panel invites papers that discuss specific play-scripts
by Shaw and their pliability—and resistance—to adaptation across genres and
media. Literary theorist Linda Hutcheon has defined the allure
of transmedial adaptation as “repetition without replication,” the
pleasure of recognition mixed with the pleasure of surprise. What features of
Shavian drama remain recognizable in adaptations of Shaw’s plays, and what is
changed or rendered unfamiliar through acts of adaptation?
Contributors are also invited to submit papers on Shaw’s own
theories and practice of adaptation, particularly as they address his vision of
evolutionary biology. Did Shaw endorse or refuse proposals to adapt his work
based on his beliefs that some transformations of his plays would enable their
migration to a more favorable artistic or cultural environment? Did Shaw
believe that his own work required directed mutation to guarantee its survival
beyond the period of its historical production (as he often proposed regarding
Shakespeare’s plays)? How has Shaw himself become what evolutionary biologist
Richard Dawkins would call a meme: a unit of cultural transmission that
inevitably changes even as it perpetuates himself, as in the flourishing of the
discussion play in the drama of Tom Stoppard and the teleplays of Aaron Sorkin?
Papers might consider some of the following specific sites
of adaptation in addition to broader models of artistic adaptation in Shaw’s
thought:
A) Adaptations of
Shaw into musical theatre:
- Oscar Straus’ adaptation of Arms and the Man into The
Chocolate Soldier (1908);
- Lerner and Loewe’s adaptation of Pygmalion into My Fair
Lady;
- Ervin Drake’s adaptation of Caesar and Cleopatra into Her First Roman (1968);
- Halberstam, Schmidt, and Tranen’s adaptation of Candida into A Minister’s Wife (2009), among
many others.
B) Adaptations of
Shaw onto film and television:
- Gabriel Pascal’s many adaptations of Shaw’s plays to film
between 1938 and 1952;
- Guy Hamilton’s adaptation of The Devil’s Disciple with Burt Lancaster, Laurence Olivier,
and Kirk Douglas (1959); Alexander Sokurov’s adaptation of Heartbreak House into Mourning Insensitivity (1986);
- Preston Sturges’ interrupted 1952 adaptation of The Millionairess for film
with Katharine Hepburn;
- and the many adaptations by the BBC of Shaw for radio
and television.
C) Shaw’s adaptations
of his own work:
- for example, Shaw’s adaptation of his novel Cashel
Byron’s Profession (1882) into
the blank verse play The Admirable Bashville
(1901);
- Shaw’s adaptation of Major Barbara for the film
version,
- and other film adaptations by the author.
D) Shaw’s plays as
adapted by other playwrights into new or updated plays:
- such as Michael Healey’s version of On The Rocks (2011)
- or John Murrell’s adaptation of Geneva into Peace in Our Time (2013),
- or Shaw as “adapted” (cut, reordered,
re-contextualized) by directors.
E) Shaw adapted as a
character, a philosophical principle, or a repertoire of stylistic tendencies:
- as in Stephen Sondheim and Burt Shevelove’s The Frogs (1974);
- Theresa Rebeck and Alexandra Gersten-Vassilaros' Omnium Gatherum (2003);
- or Tony Kushner’s The Intelligent Homosexual’s Guide to Capitalism and Socialism with a
Key to the Scriptures (2009); also see Richard Dietrich’s bibliography
of Shaw’s appearances as a character at www.shawsociety.org/Shaw-as-Character.htm.
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