The phrase "adapt the text" is correct and usable in written English.
You can use it when referring to modifying or adjusting a piece of writing to fit a different context or audience.
Example: "In order to make the material more accessible, we need to adapt the text for younger readers."
Alternatives: "modify the text" or "revise the text".
Whereas questions and answer alternatives were developed in the first step, the item adaption and item refinement steps were intended to optimally adapt the text of the questions and answer alternatives to the target population, to avoid ambiguities and misunderstandings, but not to select and exclude items.
Sheppard, who helped translate and adapt the text, and also plays one of the supporting roles, said the most challenging parts of the translation were Euripides' jokes.
Hearing an opera like this, tailored to the very singers with whom Mozart worked, supervised by Mozart's great librettist Lorenzo da Ponte (who may have helped adapt the text), played to the same audiences Mozart addressed, only deepens one's wonder.
Britten adapted the text not from Genesis but from a Chester Miracle Play from medieval times.
J. D. McClatchy, who adapted the text, has emerged as America's pre-eminent librettist.
He's adapted the text himself from the play of the same name by Roland Schimmelpfennig; the MTW production is sung in an English translation by Gregory Vajda.
McKellen was speaking at the London launch of a BFI Shakespeare season which will include his 1995 film of Richard III, in which he starred and adapted the text.
Mr. Cipullo adapted the text from a book about Jim Thompson, the longest-held American prisoner of war in Vietnam, by the journalist Tom Philpott.
Jonathan Levi, who with Mr. Morgenstern directs Nine Circles, has adapted the text, and Bruce Saylor adds original music to whatever may remain of Saint-Saëns's beguiling tunes.
Ronald Harwood, adapting the text, has made Bauby's complex internal life fully expressive, and Schnabel fleshes out brief descriptions of therapists and visitors into major psychological portraits.
These dry economic realities are leavened by the cool, ironic lyricism of a voice-over narration by Jamaica Kincaid, who adapted the text from her nonfiction book, "A Small Place".
