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In the era of the Broadband Society, cloud journalism, and streaming, the film industry is trying to modify traditional distribution channels. The adaptation of literary classics was one of the most widespread practices to obtain well-known, quality material for new productions. The objective of this research is to understand empirically what differences are involved in industry’s major production and distribution companies’ choice between adapting preexisting material or creating an entirely new film, as well as the benefits of adaptations. The methodology is comparative and quantitative, consisting of collecting data on films from the five major distributors (Universal, Warner Bros, Disney, Sony, and Paramount) from 2010 to 2019 and analyzing variables to detect market trends related to adaptations during that decade. We observed a higher percentage of adaptations as well as correlations between adaptations and film genre, distributor and genre, adaptations and awards, awards and genre, and genre and the film’s evaluation, as well as between distributor and average budget, adaptations and budget, adaptation and opening weekend box office takings, genre and profit, adaptations and worldwide box office revenues, ratings and worldwide box office takings, and awards and worldwide box office takings; however, this was not observed between adaptation and profit and the breakeven point. It is concluded that, despite the fact that the trend of using this practice has not increased in recent years, it provides a great advantage compared with debuting new intellectual property.

First of all, it seemed important to create a work which would be representative of my own individuality, and for that reason, I decided to seek inspiration in African music. After listening, studying, and absorbing what I had heard and read, I finally came up with original themes which were not literal reproductions of folk melodies, but which were inspired by the folk music of the Dark Continent, more particularly by the music of one of the Nilotic African tribes. [...]when it came time for the premiere performance of the work (at Los Angeles' Westside Jewish Community Center on October 12, 1958) Mrs. Stockton was not able to appear, so we approached Lois Adele Craft, who was already familiar with the harp passages in some of my orchestral works, and whom we had heard and admired in previous concerts.

On the score of his St Ludmila oratorio, Dvořák scribbled: ‘completed in the days when The Cunning Peasant was executed in Vienna’. Indeed, Dvořák's comic opera sparked a riot at its Hofoper premiere in 1885 and was met with harsh criticism in the Viennese press. David Brodbeck argues that the rioters were motivated to action not by The Cunning Peasant itself, but by the composer's nationality. Likewise, Brodbeck shows that the opera's harshest Viennese critics belonged to a new generation of German liberals, who subscribed to an increasingly ethnic, rather than civic, view of nationalism and were thus predisposed to disapprove of any Dvořák opera because it was not German. Based on this analysis, it would appear that Dvořák's fate was sealed long before the first notes of The Cunning Peasant were sounded at the Vienna Hofoper. This article builds on Brodbeck's claims, by exploring the Viennese scandal from the perspective of Czech critics, many of whom remained unconvinced that all Czech operas – whether by Dvořák or by another composer – would have been greeted with the same kind of disdain. In their view, The Cunning Peasant failed because it was too overtly Czech for Vienna, having been designed for Prague's Provisional Theatre, and because it was insufficiently representative of Czech achievement in the genre, paling in comparison with the operas of Smetana. Rather than offering a more plausible explanation for the riot, the opinions articulated in the Prague press reveal much about the biases and motivations of the Czech critics themselves.

Offenbach's first commercially performed dramatic work, the opéra comique Pépito, premiered in Paris at the Théâtre des Variétés on 28 October 1853. This article examines it from historical and musical perspectives. First, I argue that its production at the Théâtre des Variétés is an example of what Mark Everist has called ‘the politics of genre’, in this case the attempts by managers of Parisian boulevard theatres to circumvent the hierarchical system of genre imposed on them by the government. Offenbach may have been directly complicit by offering an opéra comique to a theatre that was legally not allowed to perform the genre and by supplying a musical element – ‘local colour’ – as part of the political strategy by which the manager of the Variétés sneaked the opéra comique past the authorities. The subterfuge did not work, however: I argue that Pépito was recognised by audiences as an opéra comique primarily through the character of its music. A discussion of the score, and the musical competence of the original cast and orchestra of the Variétés, allows a partial reconstruction of the actual sound of the first performance of Pépito. Finally, I consider the later history of Pépito, and in a postscript suggest that a faint memory of Offenbach's Spanish opéra comique may have resurfaced twenty-two years later when Georges Bizet, who became part of Offenbach's circle in the late 1850s, was composing his own Spanish opéra comique, Carmen.

Tekst jest analizą wydarzeń związanych z podjętą przez hierarchów Kościoła katolickiego próbą zablokowania premiery spektaklu Odpocznij po biegu w reż. Zygmunta Hübnera (prem. 11 listopada 1976 w Teatrze Powszechnym w Warszawie). Autor ukazuje mechanizmy działania cenzury w PRL na podstawie częściowo nieznanej korespondencji na linii Kościół – rząd – teatr oraz zestawienia medialnych przekazów na temat spektaklu z instrukcjami i raportami państwowej cenzury. Stawia tezę, że obowiązujące w narracjach dotyczących Polski Ludowej utożsamienie cenzury z instytucją GUKPPiW jest niewystarczające i błędne. W zamian proponuje ujęcie zgodne z koncepcją cenzury rozproszonej, rozumianej jako praktyka wynikająca z powiązań i zależności pomiędzy Kościołem, Partią i teatrem, w których urząd państwowej cenzury nie był jedyną instancją. Powiązania te miały szczególne znaczenie w przypadkach dotyczących ochrony uczuć religijnych.