Titlebook: Robert Lepage’s Scenographic Dramaturgy; The Aesthetic Signat Melissa Poll Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 R

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,Adapting Wagner’s Siegfried: Making Music Visible at the Metropolitan Opera,er’s third . instalment through scenography—the dialogic interplay of the bodies, objects and physical medias employed on stage—rather than shifts to the libretto or score. Lepage’s work is positioned as a development of Wagner and Appia’s prescribed . aesthetics, which were largely incompatible wit

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,‘Le Grand Will’ in Wendake: Ex Machina and the Huron-Wendat Nation’s ,t Nations reserve, fostered moments of productive interculturalism both on stage and off through the process of adaptation. My analysis of the production draws on intercultural theory, scenographic dramaturgy, postcolonial theory and postdramatic adaptation. A brief survey of Québécois and Indigenou

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Conclusion,n-ended texts such as Berlioz’s . or Stravinsky‘s .. Flexible texts enable Lepage to parallel the devised working process with which he is most comfortable. This chapter also examines how Lepage’s scenography-based adaptations challenge institutionalized norms at venues like the Metropolitan Opera a

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: Co-authoring Atypical Opera,an orchestra pit flooded with twenty-seven tons of water. In this, Lepage demonstrates how light, space, sound, movement and puppetry can shape and develop open-ended texts, providing the external dramaturgical framework necessary to expand incomplete extant scores into full-length operas.

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,Auto-adaptations: Re-‘Writing’ , and , for the Twenty-First Century,008’s ., and the 2013 re-envisioning of ., this chapter explores the ways in which Lepage employs and adapts his adaptation-making process to respond to problematic depictions of racial/cultural difference in his original productions.