Studies in Theatre and Performance最新文献

{"title":"Establishing an ecology of practice: a ‘Do It Yourself’ approach to performer training","authors":"R. Dennis, Kate Hunter","doi":"10.1080/14682761.2022.2047321","DOIUrl":"https://doi.org/10.1080/14682761.2022.2047321","url":null,"abstract":"ABSTRACT This article investigates how deeply engaging embodied perception can be nurtured and refined over a lifetime. In this article, we propose the ways in which an industry-based, self-styled performance training trajectory and a DIY approach to lifelong learning in performance-making cohere as an ecology of practice. Selected exercises are drawn on to consider how skills are accrued and how a consistent approach to practice can afford the practitioner a sustainable and flexible approach. These training examples are then considered as enablers of kinesthetic listening and embodied knowledge through the theorising of Maxine Sheets-Johnstone, George Lakoff, Mark Johnston and Shaun Gallagher, in order to discuss the deep perceptual learning that is possible when an ecological approach to performer training is adopted. Finally, we open up the paper to a broader discussion about industry sustainability and performer wellbeing, arguing for this ecological approach, which affords the practitioner aesthetic agency, social responsibility, and political engagement, as a crucial contribution to the debate.","PeriodicalId":42067,"journal":{"name":"Studies in Theatre and Performance","volume":"37 1","pages":"367 - 383"},"PeriodicalIF":0.3,"publicationDate":"2022-03-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88506543","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"‘Walking the boundaries’: Lynne Parker’s unpublished version of Federico García Lorca’s La Casa de Bernarda Alba","authors":"María del Mar González Chacón","doi":"10.1080/14682761.2022.2043610","DOIUrl":"https://doi.org/10.1080/14682761.2022.2043610","url":null,"abstract":"ABSTRACT Crossing the frontiers looking for inspiration has been part of the Irish literary tradition, and translation and adaptation of continental writers such as Federico García Lorca have played an important role. The dissenting Lorquian voices revive in Ireland to find new meanings for the silences of the original play. This article explores an unpublished version of La Casa de Bernarda Alba, by Lynne Parker (The House of Bernarda Alba, 1993). The study will first review the relationship between Irish theatre and continental drama by the end of the twentieth century, to address its internationalization as well as the relationship between the North and the South; after this, the contexts of (re)creation of the play will be analyzed, with a special interest in the situation of women in society in the Spain of Lorca and the Belfast of Parker. The study will include a revision of the process of Hibernization Parker carried out from the English version she used as a source. Furthermore, an interview with the playwright will be used to illustrate some points. Conclusions aim at recognizing the play as an act of linguistic acculturation and appropriation and as part of the canon of Irish rewritings of Lorca.","PeriodicalId":42067,"journal":{"name":"Studies in Theatre and Performance","volume":"43 1","pages":"325 - 342"},"PeriodicalIF":0.3,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80749355","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Preliminary thoughts on the death of the editor","authors":"Glenn A. Odom","doi":"10.1080/14682761.2022.2037351","DOIUrl":"https://doi.org/10.1080/14682761.2022.2037351","url":null,"abstract":"In my first editorial for STP, I noted that we were moving in new directions. In the time between then and now, there were many interesting already-accepted articles waiting for publication and several special issues on a variety of topics. This will be the first issue that I have assembled to consists entirely of articles accepted after I came on board. The act of writing this editorial has given me a moment to pause and consider my imagination of the role of editor. As the following descriptions of the articles in this issue will make clear, no one editor could possibly have the linguistic, cultural, historical and methodological knowledges necessary to expertly engage with the richness of the materials offered. In this issue there are a cluster of articles on the Middle East, an area whose theatre tends to be underrepresented in Anglophone academic journals (although this is changing). Majeed Mohammed Midhin and Clare David’s ‘National Cultural History and Transnational Political concerns in Rasha Radhil’s Ishtar in Baghdad’ examines the multiple overlapping frames in which this play might be read, and, in doing so, explores the unequal flows of globalization. Tiran Manucharyan’s ‘Irreconcilable with Time: Lenin al-Ramlī’s Theatre in Times of Crisis’ considers the various temporalities created by competing and overlapping epistemologies in Egypt. Tsu-Chung Su’s ‘The Qibla – A Never-ending Story of Migration, Runaway, and Pilgrimage’ considers the performative nature of pilgrimages in the contemporary context. In each of these cases, the collision of epistemes is visible – through temporality, through movement and through political knowledges. These articles specifically do not contort their material to fit within European theories of theatre, but, instead, shed light on theoretical contexts more local to the materials in question. While focusing on a different geographically region, Yu-Jhung Hwang’s ‘Borderline Society and “Rebellious Mourning”: The Case of South Korean Feminist Activism’ also engages with the intersections and conflicts between epistemes – in this case surrounding gender. Likewise, moving back to the UK Victoria Bianchi’s ‘Bring me a Souvenir: Performing Herstory on Ayr Beach’ considers the ways in which history, myth and geography intersect with storytelling to challenge dominant narratives and to create alternative structures. In that each of these pieces so carefully lays out the ways in which we should understand and approach the materials in question, it would be antithetical for me to then perform an act of reframing – of forcing them to fit together under the auspices of my own episteme. Where then to I leave my mark on this process? Certainly, as an editor, I can provide feedback on clarity, but the methodologies and writing styles of these pieces vary widely enough that I am forced to consider that my thoughts on ‘clarity’ as situated, personal (or systemic) judgements rather than as anything approaching an objective","PeriodicalId":42067,"journal":{"name":"Studies in Theatre and Performance","volume":"11 1","pages":"1 - 2"},"PeriodicalIF":0.3,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76889826","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"National cultural history and transnational political concerns in Rasha Fadhil’s Ishtar in Baghdad (2003)","authors":"M. Midhin, David Clare","doi":"10.1080/14682761.2021.2017138","DOIUrl":"https://doi.org/10.1080/14682761.2021.2017138","url":null,"abstract":"ABSTRACT In Rasha Fadhil’s 2003 play Ishtar in Baghdad, she has Ishtar and Tammuz, mythological figures from Iraq’s ancient past, appear in Baghdad during the Iraq War, and has them experience many of the horrors associated with the American occupation, including being tortured at Abu Ghraib prison. This article demonstrates that, in writing the play, Fadhil attempted to engage audiences both in Iraq and across the wider world. Fadhil’s attempt to appeal to Iraqi audiences was related to her employment of a common technique in Iraqi drama: discussing the political present by invoking characters from history or Iraqi mythology. But Fadhil broke new ground by ‘mix[ing …] legend and reality,’ rather than keeping the action safely confined to the past or a mythical realm. Her play was also revolutionary in its focus on women within a story that, within Iraqi drama and media, would normally focus primarily or exclusively on men. Ultimately, the risks that Fadhil took have limited the play’s appeal to Iraqi theatremakers and readers. Fadhil’s play also aspired to touch and influence people across the wider world. Specifically, she wanted to use the play to expose and condemn the corruption and hypocrisy at the heart of American neo-imperialism.","PeriodicalId":42067,"journal":{"name":"Studies in Theatre and Performance","volume":"1 1","pages":"3 - 17"},"PeriodicalIF":0.3,"publicationDate":"2021-12-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72680054","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Theatrical performance as a transnational vehicle: David Bergelson’s I Shall Not Die but Live in Mandatory Palestine","authors":"Shelly Zer-Zion","doi":"10.1080/14682761.2021.2010171","DOIUrl":"https://doi.org/10.1080/14682761.2021.2010171","url":null,"abstract":"ABSTRACT David Bergelson’s “I Shall Not Die but Live” takes place during the Nazi invasion of the USSR, in a collective settlement adjacent to an agricultural experimentation farm in the Ukraine. The world premiere of the play took place in Habima in May 1944. It was the first theatre production performed in an Eretz-Israeli theatre to deal with the extermination of the Jews during the Holocaust. This article follows the transnational network facilitated by this play, its production and public discourse, and explores how this play imported into the Yishuv a symbolic conceptualization of the Holocaust and the Jewish struggle against Nazism. The article points to the centrality of the transnational Jewish cultural mechanism in the shaping of a national, Eretz-Israeli Jewish identity.","PeriodicalId":42067,"journal":{"name":"Studies in Theatre and Performance","volume":"94 1","pages":"343 - 366"},"PeriodicalIF":0.3,"publicationDate":"2021-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83570383","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"In pursuit of a new theatre: the case of the Malvern festival","authors":"Soudabeh Ananisarab","doi":"10.1080/14682761.2021.2006925","DOIUrl":"https://doi.org/10.1080/14682761.2021.2006925","url":null,"abstract":"ABSTRACT This article considers the impact of the not-for-profit motive promoted by radical campaigners of the New Theatre movement on accounts of British theatre history. Using the Malvern Festival (1929–1949) as a case study of similar ventures associated with the New Theatre movement, this article explores the ways in which influential figures involved with these projects have distorted narratives of theatre through their emphasis on the not-for-profit/commercial binary opposition. The correspondence between key collaborators in the Festival – Bernard Shaw, Sir Barry Jackson and the lessee of the Malvern Theatre, Roy Limbert – discussed in this article reveals the flaws in such narratives, contradicting previous accounts of the Festival. These letters reveal that Shaw and Jackson failed to adhere to their own condemnations of profitmaking as they struggled to reconcile this outlook with the reality of the Malvern Festival and more broadly the material conditions of theatre.","PeriodicalId":42067,"journal":{"name":"Studies in Theatre and Performance","volume":"41 1","pages":"278 - 292"},"PeriodicalIF":0.3,"publicationDate":"2021-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76584984","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The felt sense of performance: affective meaning at the edge of words","authors":"Ana Cristina Nunes Pais","doi":"10.1080/14682761.2021.1997441","DOIUrl":"https://doi.org/10.1080/14682761.2021.1997441","url":null,"abstract":"ABSTRACT Created by Eugene Gendlin and Mary Hendricks, Thinking at the Edge (TAE) enables the articulation of meaning implicit in embodied experience, which in turn discloses the affective meaning of words (or topics), thus, empowering one to speak and think creatively from one’s felt knowledge. In this article, I present and analyse three TAE processes undertaken by Portuguese native speaker performers – Sónia Baptista, Maria Duarte, and Andrea Maciel – who have chosen to explore and expand the terms ‘performing’, ‘presence’, and ‘play’, respectively. Considering these terms from the felt sense of each performer’s culturally and aesthetically situated experience opens new ground to build a collaborative and affectively embodied vocabulary that can illuminate different approaches or lines of enquiry into some of the core concepts of theatre practice and performance studies. Based on these three cases, I argue that TAE is a stimulating tool to access the felt sense of live performance, thus contributing to the development of research on affect from a meaningful personal standpoint.","PeriodicalId":42067,"journal":{"name":"Studies in Theatre and Performance","volume":"13 1","pages":"261 - 277"},"PeriodicalIF":0.3,"publicationDate":"2021-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77692838","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Qibla—a never-ending story of migration, runaway, and pilgrimage","authors":"Tsu-Chung Su","doi":"10.1080/14682761.2021.1989226","DOIUrl":"https://doi.org/10.1080/14682761.2021.1989226","url":null,"abstract":"ABSTRACT The Qibla, written by the female playwright Wan-Ting Shen, is the title of the Best Play of the 2015 Taiwan Literature Award. This play, directed by Dong-Ning Hsieh, Artistic Director of Voleur du Feu Theatre, had its premiere in 2017. In her play, Shen portrays the interaction between a live-in foreign caregiver called Nadie and a Granny who suffers from Alzheimer and lives in the countryside. The purpose of this paper is to examine the three major motifs ─ migration, runaway, and pilgrimage ─ that are central to the play’s textuality and theatricality. The script and performance analysis of The Qibla are highlighted while a socio-economic and political background regarding the foreign migrant workers is provided so as to give the play a proper context. Since the three main characters, Nadie, Granny, and V-Rod, are all female subalterns who live on the margin of a society called the ‘Ocean State,’ this paper attempts to employ an anti-essentialist viewpoint derived from subaltern studies to investigate the social and biopolitical issues exposed in the play. In conjunction with this viewpoint, this paper intends to adopt the Brechtian reading to interrogate Hsieh’s directing approach and Shen’s dramaturgy.","PeriodicalId":42067,"journal":{"name":"Studies in Theatre and Performance","volume":"73 8","pages":"68 - 88"},"PeriodicalIF":0.3,"publicationDate":"2021-10-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72451269","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Post-anthropocentric Rehearsal Studies. A conceptual framework to account for the social and material mediations in performance-making","authors":"Carmen Pellegrinelli, L. Parolin","doi":"10.1080/14682761.2021.1979337","DOIUrl":"https://doi.org/10.1080/14682761.2021.1979337","url":null,"abstract":"ABSTRACT This article uses the concept of ‘mediation’ to account for the sociomateriality involved in the rehearsal of a new play. Drawing on ideas from the ‘New Sociology of Art’ that has its origins in Science and Technology Studies, we show how the sociomateriality of the rehearsal is an essential part of the process of theatre-making. It means giving to materials, bodies and matters in the rehearsal room a crucial role in the process of developing and refining a scene. Using ethnographic research methods, with particular emphasis on excerpts from video recordings, we analyse specific activities that take place in the rehearsal room to give a less anthropocentric and a more nuanced reading of the processes that contribute to the creation of a scene. Analysing the dynamics of entanglements in work practices of performance-making, we reveal the material base of the easily overlooked professional processes that constitute the craft of theatre.","PeriodicalId":42067,"journal":{"name":"Studies in Theatre and Performance","volume":"52 1","pages":"130 - 154"},"PeriodicalIF":0.3,"publicationDate":"2021-09-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91325655","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Theatre practitioners as unionists: art workers in post-independence Zimbabwe’s theatre sector (1980 – 1999)","authors":"Nkululeko Sibanda","doi":"10.1080/14682761.2021.1979338","DOIUrl":"https://doi.org/10.1080/14682761.2021.1979338","url":null,"abstract":"ABSTRACT This article attempts to frame and examine the structuring of labour struggles from the precarious subject position of theatre workers, without isolating these struggles into the occupational sector of the creative industries in the Zimbabwean context between 1980 and 1999. In this article, I frame theatre practitioners as ‘art – workers’ and collectives such as the NTO and ZACT as mobilising and organising agencies operating within the postcolonial Zimbabwean theatre industry. On the one hand, the NTO controlled and administered purpose-built theatres, provided funding as well as organised affiliates into a unity. On the other hand, ZACT organised multi-racial Zimbabwean theatre groups into a collective, providing and mobilising financial and organisational support towards the creation of a ‘national theatre’ narrative. Deploying resource mobilisation and rational choice theories, this paper submits that NTO and ZACT mobilized and coordinated their stakeholders towards addressing the precarious work conditions in the sector. This paper argues while attempts, through theatre associations, have been undertaken to organise the creative sector, this paper submits that the precarious nature of the work, employer-employee non-distinction, lack of legal rights knowledge and fierce inter-and intra-organisational competition complicates the process of re-mobilising and organising creatives in Zimbabwe","PeriodicalId":42067,"journal":{"name":"Studies in Theatre and Performance","volume":"48 1","pages":"240 - 255"},"PeriodicalIF":0.3,"publicationDate":"2021-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85120766","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}