Adaptation Revisited: Television and the Classic Novel. Cambridge, MA: MIT Press.Ĭardwell, Sarah. Sendak into Opera: Wild Things and Higglety Pigglety Pop! The Lion and the Unicorn, 16(2), 167–175.īolter, Jay David, and Grusin, Richard.
American Picturebooks: From Noah’s Ark to the Beast Within. Children Reading Picturebooks: Interpreting Visual Texts. Journal of Children and Media., 8(3), 253–266.Īrizpe, Evelyn, and Styles, Morag. A Child’s Eye View of Where the Wild Things Are. Retrieved October 24, 2019, from …Īnnunziato, Sara. How to Catch a Star, The Puppet Centre UK. Animation: An Interdisciplinary Journal, 1(2), 153–172.Īlexander, Catherine. All Aboard the Polar Express: A ‘Playful’ Change of Address in Computer-Generated Blockbuster. In Bettina Kümmerling-Meibauer (Ed.), The Routledge Companion to Picturebooks (pp. From Slate to Slate: What does the Future Hold for the Picturebook Series? New Review of Children’s Literature and Librarianship, 17, 55–77.Īl-Yaqout, Ghada, and Nikolajeva, Maria. By viewing the highly creative and innovative strategies that Branar employed in their production of Jeffers’ classic within the context of both contemporary picturebook scholarship and modern theatre criticism, this paper aims to establish some criteria for the academic study of page to stage adaptation of children’s picturebooks.Īl-Yaqout, Ghada. The recent proliferation of theatrical adaptations of picturebooks shows, however, that this is a dynamic and emerging area.
The adaptation of children’s picturebooks from page to stage has largely been overlooked by contemporary scholarship within both the field of children’s literature and the field of adaptation studies. This paper asks what we mean when we speak of the ‘spirit’ of a picturebook, given that this elusive element, that has broadly been equated in adaptation theory with the ‘story’ (Hutcheon, A Theory of Adaptation, 2006) cannot be located solely within the verbal narrative of picturebooks, but rather resides in a complex interplay of words and pictures and that the full meaning of these narratives is only actualized when the reader engages in a performative relationship with the book. This paper provides a detailed case study of the 2017 stage adaptation created by the Irish-language theatre-company, Branar Téatar do Pháistí an adaptation that has been highly praised for the manner in which it captures ‘the spirit’ of Jeffers’ original text. Oliver Jeffers’ best-selling picturebook How to Catch a Star (2004) has been the subject of several recent theatre adaptations for children.
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