Theatre Topics最新文献

{"title":"What the Constitution Means to Me Now That Roe Is Dead: Seeing Hopeful Solidarity in the Anzaldúan Nepantla","authors":"L. Stevenson","doi":"10.1353/tt.2023.a901203","DOIUrl":"https://doi.org/10.1353/tt.2023.a901203","url":null,"abstract":"For the last two years, I have been conducting research that positions Heidi Schreck’s predominantly one-woman play, What the Constitution Means to Me (2019, dir. Oliver Butler), which she both wrote and starred in, within a canon of feminist storytelling and scholarship. On June 24, 2022, one day before I shared my findings at the international feminist media studies conference “Console-ing Passions,” the Supreme Court of the United States (SCOTUS) issued its decision in Dobbs v. Jackson Women’s Health Organization. With its overturning of Roe v. Wade, I found myself, like Schreck, having to add devastating corrections to an already tragic script. Unlike me, though, Schreck anticipated the ever-changing present, noting in the play’s stage directions that certain data in the script “are based on published statistics from the National Sexual Violence Resource Center in the year 2019. They should be updated in performance to reflect the current reality” (38).","PeriodicalId":209215,"journal":{"name":"Theatre Topics","volume":"59 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121433849","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Palgrave Handbook of Queer and Trans Feminisms in Contemporary Performance ed. by Tiina Rosenberg, Sandra D'Urso, Anna Renée Winget (review)","authors":"J. Cole","doi":"10.1007/978-3-030-69555-2","DOIUrl":"https://doi.org/10.1007/978-3-030-69555-2","url":null,"abstract":"","PeriodicalId":209215,"journal":{"name":"Theatre Topics","volume":"68 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132759910","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Great European Stage Directors, Volume 1: Antoine, Stanislavski, Saint-Denis ed. by Peta Tait, and: The Great European Stage Directors, Volume 2: Meyerhold, Piscator, Brecht ed. by David Barnett, and: The Great European Stage Directors, Volume 3: Copeau, Komisarjevsky, Guthrie ed. by Jonathan Pitches, and: The Great European Stage Directors, Volume 4: Reinhardt, Jessner, Barker ed. by Michael Patterson (review)","authors":"","doi":"10.1353/tt.2023.a901207","DOIUrl":"https://doi.org/10.1353/tt.2023.a901207","url":null,"abstract":"Reviewed by: The Great European Stage Directors, Volume 1: Antoine, Stanislavski, Saint-Denis ed. by Peta Tait, and: The Great European Stage Directors, Volume 2: Meyerhold, Piscator, Brecht ed. by David Barnett, and: The Great European Stage Directors, Volume 3: Copeau, Komisarjevsky, Guthrie ed. by Jonathan Pitches, and: The Great European Stage Directors, Volume 4: Reinhardt, Jessner, Barker ed. by Michael Patterson Ryan M. Prendergast The Great European Stage Directors, Volume 1: Antoine, Stanislavski, Saint-Denis. Edited by Peta Tait. Great Stage Directors series. London: Methuen Drama, 2019; pp. xi + 225. The Great European Stage Directors, Volume 2: Meyerhold, Piscator, Brecht. Edited by David Barnett. Great Stage Directors series. London: Methuen Drama, 2019; pp. xi + 226. The Great European Stage Directors, Volume 3: Copeau, Komisarjevsky, Guthrie. Edited by Jonathan Pitches. Great Stage Directors series. London: Methuen Drama, 2019; pp. xii + 204. The Great European Stage Directors, Volume 4: Reinhardt, Jessner, Barker. Edited by Michael Patterson. Great Stage Directors series. London: Methuen Drama, 2019; pp. xiii + 203. \"[W]ho would unite so many scattered elements? Who would give the signal?\" (1:31). These queries of stage director André Antoine about his leadership of the Cercle Gaulois encapsulate the challenges facing those writing the history of stage direction. The role's malleable scope and evolving identity over time demand nuance and expertise with various disciplines, practices, and artists. Under the editorial guidance of Simon Shepherd, Methuen Drama's series The Great European Stage Directors answers these challenges by providing an essential and compact resource directed at students, academics, and practitioners. Although the blurb for the series hazards overstatement by deeming itself \"authoritative\" and \"comprehensive,\" the series' overall ambit engenders a substantive engagement with the topic and associated fields. Rather than offer grand narratives, each volume in the series focuses on three specific directors whose lives, careers, and legacies span various practices, traditions, and chronologies. The complete series totals eight volumes, but Methuen Drama has released it evenly as two subseries, with the mid-twentieth century as a line of demarcation. [End Page 112] (Methuen Drama has also published a congruent series for North American stage directors.) The editorial selection of \"great directors\" may prompt questions about \"canonic\" status. Shepherd, however, states in the series introduction (reprinted in each volume) that \"[c]elebrity is not in itself necessarily relevant to being important\" (1:5). Individual volumes further complicate the reception of their subjects, and some authors decry any innocence in using the adjective \"great.\" To borrow from Jonathan Pitches's introduction to Volume 3, the importance of the directors chosen for the series stems not only from their individual accomplishments \"but becaus","PeriodicalId":209215,"journal":{"name":"Theatre Topics","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135409442","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Toward a Future Theatre: Conversations during a Pandemic by Caridad Svich (review)","authors":"Kelly I. Aliano","doi":"10.1353/tt.2023.a901209","DOIUrl":"https://doi.org/10.1353/tt.2023.a901209","url":null,"abstract":"","PeriodicalId":209215,"journal":{"name":"Theatre Topics","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133245412","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Critical Perspectives on Contemporary Plays by Women: The Early Twenty-First Century ed. by Penny Farfan and Lesley Ferris (review)","authors":"J. Mobley","doi":"10.1353/tt.2023.a901204","DOIUrl":"https://doi.org/10.1353/tt.2023.a901204","url":null,"abstract":"Persistent lack of representation for women playwrights across global stages remains a central concern to feminist theatre scholars. Thankfully, the essays in this collection, representing a plurality of feminism in the plays featured and a variety of critical approaches, help address the ongoing disparities. Building on Penny Farfan and Lesley Ferris’s earlier collaboration, Contemporary Women Playwrights (Palgrave Macmillan, 2013), this volume impressively expands that work, deepening feminist engagement across intersections of race, ethnicity, class, sexuality, ability, and age. Indeed, several essays do not foreground gender but contribute more widely to larger narratives and global perspectives, offering a dynamic snapshot of the scope and diversity within the field of women playwrights.","PeriodicalId":209215,"journal":{"name":"Theatre Topics","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129032004","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A Note from the Editor","authors":"Susanne Shawyer","doi":"10.1353/tt.2023.a901198","DOIUrl":"https://doi.org/10.1353/tt.2023.a901198","url":null,"abstract":"","PeriodicalId":209215,"journal":{"name":"Theatre Topics","volume":"157 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123330902","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Performance Activism: Precursors and Contemporary Pioneers by Dan Friedman (review)","authors":"Gwendolyn Alker","doi":"10.1353/tt.2023.a901206","DOIUrl":"https://doi.org/10.1353/tt.2023.a901206","url":null,"abstract":"","PeriodicalId":209215,"journal":{"name":"Theatre Topics","volume":"81 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132347341","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Palgrave Handbook of Queer and Trans Feminisms in Contemporary Performance ed. by Tiina Rosenberg, Sandra D'Urso, Anna Renée Winget (review)","authors":"","doi":"10.1353/tt.2023.a901208","DOIUrl":"https://doi.org/10.1353/tt.2023.a901208","url":null,"abstract":"Reviewed by: The Palgrave Handbook of Queer and Trans Feminisms in Contemporary Performance ed. by Tiina Rosenberg, Sandra D'Urso, Anna Renée Winget Joshua Bastian Cole The Palgrave Handbook of Queer and Trans Feminisms in Contemporary Performance. Edited by Tiina Rosenberg, Sandra D'Urso, Anna Renée Winget. Cham, Switzerland: Palgrave Macmillan, 2021; pp. xx + 541. This edited volume accents the contemporary in \"contemporary performance,\" less by its central focus on cutting edge theatre- or meaning-making than by emphasizing links between queer and trans feminist identities in relation to recent global political events. Looking through intersectional lenses of gender, sexuality, disability, and race, the editors of The Palgrave Handbook of Queer and Trans Feminisms in Contemporary Performance see political themes energizing new performance and its theorizing. With new theatre, a new audience emerges, and in this case, so does a growing interest in activism. That increase can be both good (as revitalizing) and bad (as fetishizing). In the chapter on Black queer trans theatre-maker Travis Alabanza's work from the late 2010s, Beck Tadman problematizes \"the equivalence of visibility with acceptance and safety\" (167). Tadman's theoretical reflections on Alabanza follow playwright Leelee Jackson's open letter to predominantly white institutions from whom she needs to protect her work—work that \"denormalizes racism\" and \"assume[s] queerness as the norm\" (162, 165)—that these institutions claim to \"love,\" but ultimately mishandle. Professional exposure and relying on the hope that \"you'd do better\" isn't worth the harm done (163). Collected here are analyses of queer and trans feminist performance of the twenty-first century, attuned to how creators and creations are informed by the specificity of their political contexts. The anthology itself was edited amid the COVID-19 pandemic, which imposed drastic shifts on daily life. Gatherings became impossible, and pertinent to [End Page 114] performing artists, theatres closed, some of them for good. In the Handbook's framing, the backdrop for contemporary performance includes the ongoing Black Lives Matter and Defund the Police movements that arose from George Floyd's murder in 2020 as well as conflicts in Syria, Africa, Afghanistan, Hong Kong, the Middle East, and Ukraine, to name just a few. Attention is also paid to anti-LGBTQI global legislation that led to a surge in asylum-seekers, in addition to the intense anti-trans legislation happening now in the US. The book just predates the overturning of Roe v. Wade, but it perhaps saw it coming. And of course, climate change continues to decimate the planet. The book ultimately asks how we move forward, what is the most urgent work, how does performance studies take up that work, or as Eric A. Stanley inquires in the conclusion, \"how [do we] get free?\" (516). The book is broken into five sections—the first four consist of author contributions demonstrating c","PeriodicalId":209215,"journal":{"name":"Theatre Topics","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135409555","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"\"Cultivating a Small Field\": On the Work of Citation in Theatre and Performance Studies Scholarship","authors":"Michelle Liu Carriger, Eero Laine","doi":"10.1353/tt.2023.a901200","DOIUrl":"https://doi.org/10.1353/tt.2023.a901200","url":null,"abstract":"The most famous haiku poet, Matsuo Bashō, wrote these lines somewhere in Japan, sometime in the seventeenth century. Three hundred years later, in his 1967 essay “The Death of the Author,” Roland Barthes declares that “the text is a tissue of quotations drawn from the innumerable centres of culture” (146). We understand we are in the field of theatre and performance studies (or fields of theatre and performance studies, perhaps) that is shaped and stretched and delineated by its texts. The field/text here is both material and conceptual—in particular, books and journals and the ideas they convey. And those texts rely on other texts, some from the “centers of culture,” some from our “to and fro” journeys about the world and through other areas of study. So when we asked what is the import of citation to our field(s), and what specific view do we have of citational practice and citationality from our vantage as editors of scholarly journals that attempt to contribute to this work, we were struck by the very first question . . .","PeriodicalId":209215,"journal":{"name":"Theatre Topics","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116012153","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Citing Images of Theatre and Performance in the Classroom","authors":"P. Thielman","doi":"10.1353/tt.2023.a901202","DOIUrl":"https://doi.org/10.1353/tt.2023.a901202","url":null,"abstract":"This is uncontroversial. We cite to give credit where credit is due. We cite to build lineages, to build bridges, to call in voices that are missing from the conversation, and to call back those that are heading in the wrong direction. Citation allows us to ethically participate in community with other scholars and artists. When we move into the classroom, we bring citation with us. We fill our syllabi and course materials with references. We write titles and authors on the board when something comes to us on the spur of the moment.","PeriodicalId":209215,"journal":{"name":"Theatre Topics","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122878578","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}