Latest Issues
Publication Details of Only Known VersionEarliest 2 Known Versions of
Works about this Work
-
Fluid Adaptive Revision and Twin-Track Authorship: Andrew Bovell’s Lantana Series from Stage to Screen
2023
single work
criticism
— Appears in: English Studies , vol. 104 no. 7 2023; (p. 1267-1286)'This article examines Andrew Bovell’s Lantana series, arguing that his adaptive transformation of his own texts offers a notable exposition of auto-adaptation as an organic process. The ten-year creative and selective journey, in which the Australian playwright explores the themes of loss, trust, betrayal, entanglement, and emotional disconnection, began with the 1992 one-act play Like Whiskey on the Breath of a Drunk You Love and culminated in the 2001 award-winning film Lantana, offering an insight into fluid revision and twin-track authorship. Bovell’s screenplay retells and reimagines the events and themes of its four predecessors, crafting his ideas on the precarity of human relationships and the nature of truth into a tight, reflexive structure, through fragmentation and musical orchestration. In conclusion, the Lantana series exhibits auto-adaptation as a continuous process of growth, in which the pre-texts function as independent works of art and as resources for further reimagining and adaptive revision.' (Publication abstract)
-
Fluid Adaptive Revision and Twin-Track Authorship: Andrew Bovell’s Lantana Series from Stage to Screen
2023
single work
criticism
— Appears in: English Studies , vol. 104 no. 7 2023; (p. 1267-1286)'This article examines Andrew Bovell’s Lantana series, arguing that his adaptive transformation of his own texts offers a notable exposition of auto-adaptation as an organic process. The ten-year creative and selective journey, in which the Australian playwright explores the themes of loss, trust, betrayal, entanglement, and emotional disconnection, began with the 1992 one-act play Like Whiskey on the Breath of a Drunk You Love and culminated in the 2001 award-winning film Lantana, offering an insight into fluid revision and twin-track authorship. Bovell’s screenplay retells and reimagines the events and themes of its four predecessors, crafting his ideas on the precarity of human relationships and the nature of truth into a tight, reflexive structure, through fragmentation and musical orchestration. In conclusion, the Lantana series exhibits auto-adaptation as a continuous process of growth, in which the pre-texts function as independent works of art and as resources for further reimagining and adaptive revision.' (Publication abstract)
