Writing Toward an Aesthetic of Adaptation
Workshop led by Corina Copp
Dates: Saturdays, June 9-23 (3 weeks)
Capacity: 12 participants
Cost: Sliding scale, $25-50/session ($75-150 total)
Registration deadline: June 8
What kind of future does adaptation make possible, what kind of new subject, making of knowledge, or condition for listening? How might it act as a critique or disavowal of origin, fidelity, identification, and authenticity? And less theoretically, how does one reenvision a text, and practically transition from 2D to 3D? In this three-session workshop, meant for prose writers, poets, script-writers, those more involved in dance and theatrical arts, or anyone dedicated to or interested in movement across forms, we'll look at aesthetic theories and strategies of adaptation, translation, reenactment, nomadic poetics/new materialisms, transmediality, and related contemporary live art, film, and writing practices. In-class writing exercises may be inspired by short readings and screenings of work by Walter Benjamin, Nicole Brossard, Jacques Rivette, Mac Wellman, Theresa Hak Kyung Cha, Moyra Davey, Marguerite Duras, Quinn Latimer, Yvonne Rainer, Kathleen Collins, Lisa Robertson, Eve Sedgwick, José Munoz, Chantal Akerman, Anne Carson, Raúl Ruiz, Big Dance Theater, and Maria Irene Fornes. We will also look closely, time permitting, at modes of making and writing performance that relies on other art forms or nonfiction and documentary strategies. Guest artists who operate between literature and stage-work, or literature and film, or in and around other media, are possible for first 2 sessions. The last workshop will be constructively dedicated to students' writing or personal projects related to adaptation.
Corina Copp is a New York-based writer working at the intersections of performance, film, and poetry. She is the author of The Green Ray (Ugly Duckling Presse, 2015); a three-part play inspired by the successive forms of the work of Marguerite Duras, The Whole Tragedy of the Inability to Love; and chapbooks including All Stock Must Go (Shit Valley Verlag, 2014), and Pro Magenta/Be Met (UDP 2011). Recent writing appears in Hyperallergic, Hix Eros, BOMB, and elsewhere. Performance work: The James Gallery – CUNY Graduate Center, Artists Space, Home Alone 2 Gallery, NYC Prelude Festival, E. 13th Street Theater, Dixon Place, The Invisible Dog Art Center, and through Lower Manhattan Cultural Council’s Workspace (Writer-in-Residence, 2013-14). Her talk, “Goodnight, Chantal”—on voice, sleep, and Charlie Chaplin as consolations in Chantal Akerman’s films—was presented at After Chantal: An International Conference (U. of Westminster, London, 2016) and published in Pelt v. 4: Feminist Temporalities (Organism for Poetic Research). Translations of Akerman's own writing, the play Hall de nuit (Night Lobby) and Ma mère rit (My Mother Laughs) are to be published soon by e-flux journal and The Song Cave, respectively; and other writing on film can be found in Frieze and forthcoming in Outsider Films on America (ed. Shanay Jhaveri, fall). She received her MFA in Playwriting from Brooklyn College, working with Mac Wellman, and is soon pursuing a PhD in Critical Studies at the School of Cinematic Arts, University of Southern California. She is a 2014 NYFA Fellow in Poetry and former curator at The Segue Foundation.
Image: Jennie Richee—or Eating Jalooka Fruit Before It's Ripe. Based on the Life History and Art of Henry Darger. St. Ann's Warehouse, Brooklyn, 2003.