The not-so-singular life of Albert Nobbs
Loading...
Files
Accepted Version
Date
2020-05-09
Authors
Noonan, Mary
Journal Title
Journal ISSN
Volume Title
Publisher
Springer Nature Switzerland AG
Published Version
Abstract
The short story “Albert Nobbs” by the Irish novelist George Moore first appeared in A Story-Tellers Holiday, in 1918. In 1977, a play, La Vie Singulière d’Albert Nobbs, adapted from the Moore story, was written and directed by the French theatre director Simone Benmussa, and performed at the Théâtre d’Orsay, Paris. The play was subsequently translated into English by Barbara Wright, and later again made into a film starring Glenn Close in the titular role. The story of Albert Nobbs, therefore, is one of multiple adaptations and translations. In this chapter, Noonan first considers the techniques Benmussa used to make a play that exposes the coercive nature of narrative within patriarchy, and the relationship between performance and gender. She goes on to show that Benmussa ransacks the original text to serve her own ends. Drawing on Julie Sanders’s work on the relationship between adaptation and appropriation (Sanders Adaptation and Appropriation. Routledge, London, 2006, 2016), Noonan frames Benmussa’s Albert Nobbs in the context of works of literary appropriation—works that seek both to foster historical understanding and insist on a radical break with tradition. However, in the case of Benmussa’s Albert Nobbs, appropriation of George Moore’s original narrative enables an intense form of creative play, where multiple versions of Albert become manifest on the stage, creating a space of fluidity between source text and appropriation, past and present, fiction and theatre.
Description
Keywords
Albert Nobbs , George Moore , Simone Benmussa , La Vie Singulière d’Albert Nobbs , French theatre , French women playwrights , Theatrical adaptation
Citation
Noonan, M. (2020) 'The not-so-singular life of Albert Nobbs', in Cronin, B., MagShamhráin, R. and Preuschoff, N. (eds) Adaptation Considered as a Collaborative Art. Adaptation in Theatre and Performance, pp. 67-82. Palgrave Macmillan: Cham. doi: 10.1007/978-3-030-25161-1_4
Link to publisher’s version
Collections
Copyright
© 2020, the Editors and the Author. This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned.