b'Jaime CorpA Discussion on Criticism of Contemporary Greek AdaptationsCritical AnalysisJaime CorpIn her chapter within Contemporary Approaches to Adaptationvisible through the cracks and tears in the new texts. This in Theatre, Olga Kekis, an independent drama scholar withconcept, as well as Alexanders concept of the palimpsest a background in theatrical adaptation and theatre history(cited Hutcheon 2013:6), allow Kekis to successfully studies, uses a palimpsestuous (2018: 196) approach todiscuss the links and influences between Euripides original explore hyper-theatricality, or active links and connectionsand the adaptations without resorting to merely labelling between plays, in contemporary adaptations of Euripidesthe differences or similarities and marks Kekis progression The Trojan Women, i.e. by overwriting an existing piecein analysis. or idea in such a way as allows the pre-existing to show through.Through placing this text in dialogue with twoViewing adaptation as a reformulation of its 21st-century adaptations: Kaite OReillys Peeling (2002) andcommunicative situation (Casetti 2004: 83), Kekis Christine Evans Trojan Barbie (2010), Kekis argues that theargument that OReilly and Evans adaptations redefine hyper-theatricality and palimpestuous layering of the textsScanlans view of The Trojan Women as Writ of Habeus emphasizes that the defining radicality of the adaptationsCorpus to a female Writ of Habeus Corpus (Kekis 2018: lies in their reconfiguration of the female characters as196) suggests that the productions fit in with modern female Writs of Habeus Corpus(2018: 211).desires to retaliate against hegemony. Whilst this follows Kekis view, it is at a stark opposition to the opinion of Kekis hyper-theatrical engagement is a naturalEleftheria Ioannidous introduction to the chapter. Kekis progression from her previous work on twenty-firstsuggests the physical peeling away of costume in Peeling century adaptations of the classics: Medea Adapted:metaphorically signifies the removal of societal constraints The Subaltern Barbarian Speaks (2003). Medea Adapted, likeand therefore shows the strength of the women in hyper-theatrical engagement, focuses on the radicalitylay[ing] bare their souls to the audience (2018: 204). and subaltern status of [the] heroine (Kekis 2010: 4) inIoannidous introduction challenges this as Kekis, although contemporary adaptations of a Greek drama, in this case,approaching the texts palimpsestically, does not discuss the Euripides Medea. Although Hyper-theatrical Engagementcanonical influences of the adaptations. As Ioaniddou similarly contemplates the transformation of the tragicargues, the adaptation of classical texts creates female characters into twenty-first century womenambivalence (2018: 191) in their quest to challenge who challenge and contest their social and personalauthorial figures in that the adaptations themselves are status (Kekis 2018: 196), there is a progression in Kekiscreating and recreating a cultural hegemony through approach to analysing new adaptations. In hyper-theatricalaffirming the canon which first created it (2018: 191). engagement, Kekis pays close attention to GerardDespite Kekis claim of hyper-theatricality, the Gnettes concept of hyper-textuality; any relationshipimplications of reviving the cultural canon are not uniting a text B (. the hypertext) to an earlier text A (. considered. The strength of the argument then, lies in the hypotext) (Gnette 1997: 7). Kekis makes her owndiscussion of the representation of the other in the adaptation of sorts in applying this theory to theatre underadaptations. The two case studies used are well-suited hyper-theatricality (Kekis 2018: 195). The hypertext then,to this exploration with both portraying the concept of becomes the hyperplay and the hypotext the hypoplayotherness in diverging ways.OReillys Peeling sets out to (Kekis 2018: 195). Different from the more simplisticchallenge tradition of otherness in Western theatre being contrasts and parallels drawn in Medea Adapted, here Kekisrarely played by those who were other themselves. views Trojan Women as a scaffold (2018: 195) on whichTrojan Barbie instead evokes otherness but through an Peeling and Trojan Barbie are built; a scaffold which is stilluncomfortable depiction of distance and time. Kekis 23'