Studies in Theatre and Performance最新文献

{"title":"A poetics of modernity: Indian theatre theory, 1850 to the present","authors":"Glenn A. Odom","doi":"10.1080/14682761.2020.1862553","DOIUrl":"https://doi.org/10.1080/14682761.2020.1862553","url":null,"abstract":"My review is shaped by the fact that I am deeply invested in understanding theatre theory as it emerges from an array of locales around the world, although I have a non-expert knowledge of Indian t...","PeriodicalId":42067,"journal":{"name":"Studies in Theatre and Performance","volume":"110 1","pages":"227 - 229"},"PeriodicalIF":0.3,"publicationDate":"2020-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79192086","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":"Promoting unity in the modern age through social drama: the performance of Umulumgbe Odo masquerade ritual","authors":"G. N. Ozor, Ciarunji Chesaina, M. Odari","doi":"10.1080/14682761.2020.1807191","DOIUrl":"https://doi.org/10.1080/14682761.2020.1807191","url":null,"abstract":"ABSTRACT Umulumgbe is a community in the South Eastern sub-tribe of the Igbo of Nigeria. They are known for their strong belief in the Supreme Being who is known as Chukwu Okike – the Creator and in the ancestors. Although they believe in other smaller gods, their reverence to the ancestors is apparent in the way they perform their Odo masquerade and struggle to sustain it. These ancestors who are known dead relatives in the community visit the living every two years and stay with them for a period of six months in the form of Odo masquerade. Umulumgbe Odo masquerade ritual performance is an art form that reflects the creative and imaginative work of the people of Umulumgbe. The performance provides an avenue for the participants to dramatize how their belief in the afterlife has contributed to their social and psychological wellbeing, especially, during the loss of a loved one. This study also concentrates on how the participants utilize this performance as an opportunity to promote peace, unify the people, and solidify communal bonds. Umulumgbe Odo masquerade performance is a social drama in nature, occupying the space between the real and the imagined, focusing on the continuation of life after physical death in the spiritual world.","PeriodicalId":42067,"journal":{"name":"Studies in Theatre and Performance","volume":"31 1","pages":"136 - 142"},"PeriodicalIF":0.3,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75254226","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":"‘Talking sense’ about art: Evaluation of theatre as a social process","authors":"Kamila Lewandowska","doi":"10.1080/14682761.2020.1810500","DOIUrl":"https://doi.org/10.1080/14682761.2020.1810500","url":null,"abstract":"ABSTRACT This article is concerned with collective judgement-making in the theatre field. Using the empirical case of expert theatre panels, it explores the rules of communicating, testing, and validating judgements in social interactions. The research is based on interviews with 30 theatre critics who served on review panels at the National Contemporary Polish Drama Staging Competition. The results shed light on what kind of statements, behaviour, and actions are perceived as manifestations of rationality in group decision-making. The analysis of data allows to elucidate different tactics, strategies, and efforts – such as providing justifications or preserving emotional distance – undertaken by panel members to secure and cultivate what they believe is a proper evaluation.","PeriodicalId":42067,"journal":{"name":"Studies in Theatre and Performance","volume":"20 1","pages":"18 - 34"},"PeriodicalIF":0.3,"publicationDate":"2020-10-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82575736","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":"Tragedy since 9/11: reading a world out of joint","authors":"K. Beswick","doi":"10.1080/14682761.2020.1824638","DOIUrl":"https://doi.org/10.1080/14682761.2020.1824638","url":null,"abstract":"or less worked out scenes’ (72) but ‘over 500 archived sheets’ (72), which can be ascribed to the project with varying extents of certainty. On the other hand, The Bread Store and The Judith of Shimoda are both ‘“almost” complete’ (183). Phoebe von Held and Matthias Rothe, who provide the introduction to Fleischhacker, usefully note some ‘blind spots in Brecht’s reception of American society’ (15) with regard to race that are evident in the play, which might stand out to a contemporary reader. Similar qualifications regarding the reception and presentation of Japanese society and culture would have been welcome in the introduction to The Judith of Shimoda. However, the multiple layers of this text, which is the ‘first English translation of [. . .] Neureuter’s German-language reconstruction (2006) of [Brecht and Wuolijoki’s] respective adaptation(s) (1940) of [. . .] Shaw’s English rendering (1935) of Yamamoto Yūzō’s 1929 play’ (295), make the attribution of any potentially problematic attitudes to any one Western author practically impossible. Marc Silberman, who translated and edited Garbe/Büsching, presents the final fragment of the collection in a facing-page layout. While he gives his reasoning for this choice, namely the extremely fragmented nature of the material, this particular layout makes both editorial commentary and play fragment significantly harder to read than the rest of the collection. Kuhn and Ryland’s edited collection aims to expand their readers’ understanding of Bertholt Brecht’s creative process, and succeeds in doing so. The book manages to leave enough gaps for the reader to draw their own conclusions on each fragment, while generating a greater understanding and appreciation for Brecht’s productivity and ongoing innovation. The various translations in the collection clearly demonstrate different aspects of the range of non-naturalistic, rhythmical and elevated styles of Brecht’s language. Further, the clarity with which the collaborative nature of Brecht’s approach is detailed in each case provides useful insights into his working methods and principles. Each contribution is accessible in tone, though all require sound basic knowledge of Brecht’s life, work, legacy, and the political events of the early to mid-20 century. As the collection presumes somewhat substantial preexisting knowledge, its readership would most likely be comprised of undergraduate students in the later stages of their degree, postgraduates, and scholars with an interest in Brecht. This book presents an inviting extension of English-language materials on one of the most wellknown theatre-makers of the 20 century.","PeriodicalId":42067,"journal":{"name":"Studies in Theatre and Performance","volume":"9 1","pages":"121 - 123"},"PeriodicalIF":0.3,"publicationDate":"2020-10-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83521524","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":"Include me out: theatre as sites of resistance to right-wing populism in Estonia, the Czech Republic and Hungary","authors":"Maria-Alina Asavei, Jiri Kocian","doi":"10.1080/14682761.2020.1834258","DOIUrl":"https://doi.org/10.1080/14682761.2020.1834258","url":null,"abstract":"ABSTRACT This paper lifts the curtain on the cross-fertilization of political resistance and theatre performance in three post-socialist countries – Estonia, the Czech Republic, and Hungary – by focusing on how theatre can function as sites of resistance to right-wing populism from a cross-cultural perspective. The argument is that theatre performance can function as a critical platform that engages strategies from popular culture to reveal the voices of those who are silenced by populist institutions and actors. Although resistance to populism through critical cultural production is very seldom addressed in academic studies dedicated to Central and Eastern Europe, we claim that theatre can illuminate fresh modes of political action and critical knowledge about world politics. The impetus for this study is Angela Marino’s claim that ‘populism is inseparable from the embodied, relational, and material aesthetics of performance.’ Thus, this paper focuses on contemporary theatrical performances that are put to the opposite end, namely to resist the cultural essentialism put forth by the right-wing populist entrepreneurs in Central and Eastern Europe.","PeriodicalId":42067,"journal":{"name":"Studies in Theatre and Performance","volume":"23 1","pages":"196 - 212"},"PeriodicalIF":0.3,"publicationDate":"2020-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73631583","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":"Asking the wrong questions: musings on a conversation with Gakire Katese Odile about “Intercultural Theatre”","authors":"Glenn A. Odom","doi":"10.1080/14682761.2021.1889937","DOIUrl":"https://doi.org/10.1080/14682761.2021.1889937","url":null,"abstract":"ABSTRACT ‘Asking the Wrong Questions: Musings on a Conversation with Gakire Katese Odile about Intercultural Theatre’: After an interview with Gakire Katese Odile, a Rwandan drummer, director, and entrepreneur, I was struck by the failure of my theories to account for her work. Rehearsing this failure allows for an exploration of the ramifications of acknowledging the fact that Odile had already theorized her own work. She uses her theorization to shift the nature of the debate surrounding the relationship between theatre and performance, the nature of interculturalism, and the political impact of theatre. I find myself challenged to consider what theoretical pluralism – as opposed to the assimilative mode so often on display in European academies – might do to our intellectual landscape.","PeriodicalId":42067,"journal":{"name":"Studies in Theatre and Performance","volume":"63 1","pages":"50 - 67"},"PeriodicalIF":0.3,"publicationDate":"2020-10-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78209864","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":"From the producer’s perspective: Paul Warwick","authors":"Jessica Bowles","doi":"10.1080/14682761.2020.1807216","DOIUrl":"https://doi.org/10.1080/14682761.2020.1807216","url":null,"abstract":"","PeriodicalId":42067,"journal":{"name":"Studies in Theatre and Performance","volume":"5 1","pages":"328 - 333"},"PeriodicalIF":0.3,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86961471","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":"Class and the problem of inequality in theatre","authors":"D. O’Brien","doi":"10.1080/14682761.2020.1807212","DOIUrl":"https://doi.org/10.1080/14682761.2020.1807212","url":null,"abstract":"ABSTRACT Theatre stakes a claim to represent individuals, communities, and nations. Yet both the workforce and the audience are marked by significant inequalities. There are absences of people of colour and those from working-class origins, along with significant gender inequalities in specific roles and specific productions. Awareness of these issues has, in part, been driven by recent research from social science. The techniques from social science that make inequalities visible can be at odds with the preferred modes of understanding inequality favoured by theatre practitioners. This paper is situated at the intersection of social scientific and theatre practice, considering the potential and pitfalls of methods of making inequality visible. In doing so, it frames the discussions that follow in the special issue, as well as suggesting ways that theatre and social science might have productive working partnerships.","PeriodicalId":42067,"journal":{"name":"Studies in Theatre and Performance","volume":"59 1","pages":"242 - 250"},"PeriodicalIF":0.3,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85288172","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":"Acta community theatre’s ‘cycle of engagement’ and foundation worker programme: creating pathways into cultural participation and work","authors":"Kerrie Schaefer, A. Abdulla, Neil Beddow, J. Cook, Hiba Elhindi, Ingrid Jones, Tracey Harvey, K. Hopkins, Rosalie Pordes, Sara Snook, Helen Tomlin","doi":"10.1080/14682761.2020.1807214","DOIUrl":"https://doi.org/10.1080/14682761.2020.1807214","url":null,"abstract":"ABSTRACT This article expounds acta’s model of participatory community theatre developed over the years since the organisation was founded in 1985. It examines how acta’s commitment to access and participation has come to be enshrined in the ‘cycle of engagement’ which offers multiple pathways into and through participation in theatre making. Recently, these pathways into experiencing and making theatre have been extended into (paid) training and employment through the launch of the Foundation Worker (FW) programme. The article examines acta’s Foundation Worker programme which offers first jobs with training and mentoring to those new to the community/participtory arts workforce, whether recent arts graduates, community theatre participants or civil society/third sector workers. It is argued that the co-articulation of the cycle of engagement and the Foundation Worker programme reflects acta’s democratic and developmental ethos of theatre making. The aim of this piece is to contextualise acta’s history and development as a community theatre company and to outline the pathways into employment and training that acta’s FW programme offers. The paper is co-authored with acta and FWs (in third-person voice) after a focus group at the acta Centre, Bedminster, in July 2019, with follow up over email.","PeriodicalId":42067,"journal":{"name":"Studies in Theatre and Performance","volume":"157 1","pages":"334 - 345"},"PeriodicalIF":0.3,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84987233","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":"An act of transgression: performing arts as a subject choice within a coastal area of deprivation","authors":"Aly Colman, Geoffrey Colman","doi":"10.1080/14682761.2020.1807206","DOIUrl":"https://doi.org/10.1080/14682761.2020.1807206","url":null,"abstract":"ABSTRACT This paper examines the perceptions and aspirations of secondary school pupils interested in a career in the performing arts. The pupils in this case study were participating in drama-based courses and this research offers findings relevant for those working in schools, FE and HE, as well as the creative arts industries. This research is located within a coastal area of deprivation, Waveside, situated within England, UK. We have used fictional names for the towns, school and participants in this research, to offer anonymity. England’s coastal areas are often linked to deprivation. Within this context, a focus group of GCSE, A level and BTEC Drama pupils from Seagreen Secondary Academy, a secondary school in Waveside, provides the data that informs this research, with additional contextual narrative from the pupils’ teacher. The findings show that to study a performing arts subject is perceived by some pupils as an act of transgression. These pupils resisted neoliberal curriculum priorities resulting in tensions between school, parents and friends. Those acting as gate-keepers to professional actor training and other career opportunities within the arts, may need to review practices for recruitment and development support within marginalised communities.","PeriodicalId":42067,"journal":{"name":"Studies in Theatre and Performance","volume":"11 1","pages":"292 - 302"},"PeriodicalIF":0.3,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75375310","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}