Theatre Topics最新文献

{"title":"Citing Right/Right to Cite: A Black Feminist Reflection on Citation","authors":"Jordan Ealey","doi":"10.1353/tt.2023.a901201","DOIUrl":"https://doi.org/10.1353/tt.2023.a901201","url":null,"abstract":"","PeriodicalId":209215,"journal":{"name":"Theatre Topics","volume":"51 9","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120850590","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 New Path to the Future\": Women Producers of Border-Crossing Musical Theatre in Japan, South Korea, and China","authors":"Laura Macdonald","doi":"10.1353/tt.2023.a901199","DOIUrl":"https://doi.org/10.1353/tt.2023.a901199","url":null,"abstract":"When South Korean producer Sophy Jiwon Kim decided she had to produce the Austrian musical Mozart! (1999) in South Korea, she flew to Tokyo to pursue its creators Michael Kunze and Sylvester Levay at a Japanese theatre and persuade them to grant her the rights for a Korean premiere in 2010. When American producers failed to finance a revue show celebrating the work of Broadway director and producer Harold Prince, Japanese producer Murata Hiroko1 risked her career to honor Prince, premiering the revue, Prince of Broadway, in Japan in 2015, prior to a 2017 Broadway opening. When Chinese producer Yang Jiamin wanted to bring the American musical Man of La Mancha (1965) to China but the initial license agreement proved prohibitive for her fledgling Chinese company’s 2012 inaugural production, she traveled to New York and negotiated with the show’s composer, Mitch Leigh. These women have taken risks for musical theatre. They cross borders and continents, often based on strong instincts rather than certainties.","PeriodicalId":209215,"journal":{"name":"Theatre Topics","volume":"33 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":"121349419","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":"Contemplating the Afterlife: Musicals in Revival as Pedagogical Intervention","authors":"Bryan M. Vandevender","doi":"10.1353/tt.2023.0009","DOIUrl":"https://doi.org/10.1353/tt.2023.0009","url":null,"abstract":"Courses that center musical theatre as an object of analysis frequently attract ardent devotees of the form. In order to activate and leverage my students’ existing knowledge, I open these courses with an invitation: identify your favorite musicals and explicate their merits. 1 The students’ fidelity to musical theatre is apparent during this activity as they index and defend their choices with zeal. Among the cataloged titles, recent musicals—works that received their initial first-class production within the past decade—commonly represent a majority. 2 Moreover, several students acknowledge that their enthusiasm for these works derives from having consumed their original productions as performance, whether on Broadway, on tour, or as a bootleg video. When I ask them to expound on their love for a given musical, they frequently conflate its textual elements (libretto, lyrics, and score) with the original production’s mise-en-scène (directorial concept, design, and choreography) and thereby suggest that an inaugural production represents the musical’s apotheosis. In their estimation, a musical’s legibility hinges on its original mise-en-scène. For example, Hamilton (2015) is not merely a musical composition penned by Lin-Manuel Miranda but rather a composite text that necessarily includes David Korins’s scenery, Paul Tazewell’s costumes, and Andy Blankenbuehler’s movement vocabulary. 3 My students later confirm their orientation toward musical theatre when they assess productions staged at their high schools or community theatres. The most frequently invoked measurement of success is the degree to which a creative team emulates the given musical’s original first-class production. Through their discussion of favorite works and prior spectatorship, many students unwittingly contend that a musical’s inaugural production is indistinguishable from the musical itself. I","PeriodicalId":209215,"journal":{"name":"Theatre Topics","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128462487","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":"Shadow Play: Visualizing Asexuality in New","authors":"Kari Barclay","doi":"10.1353/tt.2023.0008","DOIUrl":"https://doi.org/10.1353/tt.2023.0008","url":null,"abstract":"Asexuality—the perspective of not experiencing sexual attraction to others—is sometimes called the “invisible orientation” for its lack of representation in popular culture (Decker). Popularized in the early 2000s, the term “asexual” describes a spectrum of non-normative desire and is usually presented as a sexual orientation akin to “heterosexual,” “bisexual,” or “homosexual.” While framed as an essential, minority identity, asexuality can also describe a sensibility akin to queerness. Within the past few years, television series such as BoJack Horseman, Sex Education, Sirens, and Everything’s Gonna Be Okay have all spotlighted asexual characters. In theatre, however, asexual representation has remained rare. Being one of a few out asexual playwrights, I have stumbled upon pockets of asexual theatre-makers, often by chance, as colleagues have connected via social media or word of mouth through mutual friends. I have noticed (and been part of ) a cohort of artists working to tell stories of asexual experience and shift social understandings of what constitutes “natural” sexuality. Here, I spotlight a sample of plays from this cohort to investigate what asexual aesthetics and representation might lend to theatrical discourse more broadly.","PeriodicalId":209215,"journal":{"name":"Theatre Topics","volume":"95 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126246991","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":"How to Market the Arts: A Practical Approach for the 21st Century by Anthony Rhine and Jay Pension (review)","authors":"James Filippelli","doi":"10.1353/tt.2023.0006","DOIUrl":"https://doi.org/10.1353/tt.2023.0006","url":null,"abstract":"None of this, however, should diminish the substantial achievements of Rethinking the Actor’s Body. It integrates highly technical discourses on the body from theatre studies, cognitive science, anthropology, and philosophy into a cogent narrative that is accessible across disciplines. For actors and acting teachers looking to deepen their understanding of the mimetic function of the actor’s body and the efficacy of psychophysical acting techniques, McCaw provides a fresh perspective on many compelling questions and poses some intriguing new ones for future consideration. It is the most up-to-date theoretical explanation of why theatrical realism endures as the dominant system of actor training in the West, and anyone who works in that style would benefit from McCaw’s insight.","PeriodicalId":209215,"journal":{"name":"Theatre Topics","volume":"123 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116061599","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":"On Site: Methods for Site-Specific Performance Creation by Stephan Koplowitz (review)","authors":"KT Shorb","doi":"10.1353/tt.2023.0003","DOIUrl":"https://doi.org/10.1353/tt.2023.0003","url":null,"abstract":"","PeriodicalId":209215,"journal":{"name":"Theatre Topics","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125938831","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":"Working Backstage: A Cultural History and Ethnography of Technical Theater Labor by Christin Essin (review)","authors":"David B. Vogel","doi":"10.1353/tt.2023.0002","DOIUrl":"https://doi.org/10.1353/tt.2023.0002","url":null,"abstract":"","PeriodicalId":209215,"journal":{"name":"Theatre Topics","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130877732","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":"Stage Management Theory as a Guide to Practice: Cultivating a Creative Approach by Lisa Porter and Narda E. Alcorn","authors":"Tom Humes","doi":"10.1353/tt.2023.0005","DOIUrl":"https://doi.org/10.1353/tt.2023.0005","url":null,"abstract":"","PeriodicalId":209215,"journal":{"name":"Theatre Topics","volume":"139 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126058580","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":"Projection Design for Theatre and Live Performance: Principles of Media Design by Alison C. Dobbins (review)","authors":"Fereshteh Rostampour","doi":"10.1353/tt.2023.0001","DOIUrl":"https://doi.org/10.1353/tt.2023.0001","url":null,"abstract":"","PeriodicalId":209215,"journal":{"name":"Theatre Topics","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124232103","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":"John Fletcher","doi":"10.1353/tt.2023.0007","DOIUrl":"https://doi.org/10.1353/tt.2023.0007","url":null,"abstract":"A Note from the Editor John Fletcher Returning to the classroom after a spring sabbatical, I realized that this fall was for me the first semester to feel post-pandemic. I met classes in the rooms I usually taught them. I gingerly reestablished some participation and attendance standards (with generous options for medical excuses, of course). Students and I interacted mostly without the distancing, universal masking, and HEPA-filter hum of years past. It feels new. Amid this newness, I've found myself struggling to talk about the former high pandemic period. I gesture vaguely to the last few years as a long, frustrating season for theatre students and teachers. We were not lethargic; emergency and innovation energized us. From the efflorescence of creative strategies for remote performance in lockdowns to the exasperated fury at assaults on Black lives and threats to democracy, the past few years kept us busy as artists, teachers, and scholars. Yet the fuels of rage and fear, potent as they are, can burn out easily. It has taken a long time for me to recover enough to feel new, to rediscover the passions that got me into theatre and the classroom in the first place. To be sure, stressors like the pandemic and rising white nationalism are not altogether gone; thus, pandemic innovation and emergency response will remain part of our collective toolkits. But we are perhaps moving past the time when these were our only options. I am refreshed, then, that this issue's offerings all in one way or another engage not just living but thriving. Each is about passion—a deep, durable yearning toward something beyond mere survival. And for the first time in years, I sense my own readiness to think about teaching, studying, and producing theatre in ways other than crisis reactions or desperate experimentation. I hope you are similarly primed to indulge in some passion. I am especially pleased to begin this issue with \"Shadow Play: Visualizing Asexuality in New Queer Plays\" by playwright and scholar Kari Barclay. This is the first article in Theatre Topics to engage asexuality directly. Barclay both provides a crash course in asexuality (and other identities within the asexual/aromantic spectrum) and showcases how several queer playwrights stage this identity category within the constellation of sexual and gender identities. Barclay adroitly dispatches any misconception that lives not centering on sexual desire means lives missing out on passion. The plays they survey in the article (including their own) deepen and expand possibilities for non-normative sexualities, playing in the shadows of more conventional identities' visibility politics. Such shadow play resonates with what Michel Foucault imagined in 1981 when he identified the most exciting element of homosexuality not as a new normative category for sexual expression but as \"a historic occasion to reopen affective and relational virtualities\" more broadly (138). That is, homosexuality (in Foucault's conte","PeriodicalId":209215,"journal":{"name":"Theatre Topics","volume":"179 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134950015","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}