THEATERPub Date : 2024-05-01DOI: 10.1215/01610775-11127570
Yizhou Huang
{"title":"Radical Hope","authors":"Yizhou Huang","doi":"10.1215/01610775-11127570","DOIUrl":"https://doi.org/10.1215/01610775-11127570","url":null,"abstract":"In this article, Yizhou Huang considers the transnational transmission of devised theater, focusing on the Shanghai-based performance group Grass Stage (Caotaiban) led by Zhao Chuan. She discusses the group’s devising process from two symbiotic aspects, the corporeal and the political. Attending to Grass Stage’s eclectic inspirations and international collaborations, Huang compares the collective to world renowned ensembles such as Théâtre du Soleil and parses out the unequal transactions between Asian performance traditions and devised theater techniques. She warns against a neo-Orientalism that positions non-Western artists and their works solely into an epistemological framework that applauds liberal democracy and argues for devised theater as a site of minor interventions, world making, as well as radical hope.","PeriodicalId":42152,"journal":{"name":"THEATER","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2024-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141134638","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
THEATERPub Date : 2024-05-01DOI: 10.1215/01610775-11127602
Jonathan P. Eburne, Sara Freeman, Brittney S. Harris, Erica Murphy, James Stanley, Rebecca Struch, Abigail Van Patter
{"title":"Forum: Devised Futures","authors":"Jonathan P. Eburne, Sara Freeman, Brittney S. Harris, Erica Murphy, James Stanley, Rebecca Struch, Abigail Van Patter","doi":"10.1215/01610775-11127602","DOIUrl":"https://doi.org/10.1215/01610775-11127602","url":null,"abstract":"","PeriodicalId":42152,"journal":{"name":"THEATER","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2024-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141142357","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
THEATERPub Date : 2024-05-01DOI: 10.1215/01610775-11127546
Jasmine Mahmoud
{"title":"Seattle’s Episodic Companies of Color","authors":"Jasmine Mahmoud","doi":"10.1215/01610775-11127546","DOIUrl":"https://doi.org/10.1215/01610775-11127546","url":null,"abstract":"Two early twenty-first century ensembles of color in Seattle—and their methods—anchor this article. The first: sis Productions, which started in 2000 as “Sex in Seattle,” an episodic and humorous theatrical series about the romantic relationships of Asian American women. Conceived of by theater artists Kathy Hsieh, Moi, Serin Ngai, and Amy Villarama Waschke, sis developed brainstorming and scripting methods to collectively storytell at Theatre Off Jackson, Annex Theatre, Nippon Kan Theatre, Center House Theatre, Bathhouse Theatre, and Hugo House, and other venues across Seattle. The second: the Black Collectivity Project, a movement-based ensemble led by Nia-Amina Minor, David Rue, marco farroni, and Akoiya Harris, which conducted historical research about the lives and movements of twentieth century Seattle-based Black artists, including dancer Syvilla Fort, and staged their embodied histories via workshops and productions at 12th Avenue Arts, On the Boards, and other Seattle venues. Through an ethnographic and archival approach, Jasmine Mahmoud argues that both ensembles created specific methods to unearth and represent stories in exceptionally unexpected ways that formally emancipated how minoritized people and their histories are portrayed.","PeriodicalId":42152,"journal":{"name":"THEATER","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2024-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141135329","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
THEATERPub Date : 2024-05-01DOI: 10.1215/01610775-11127586
Allen J. Kuharski
{"title":"Incubating Incubators","authors":"Allen J. Kuharski","doi":"10.1215/01610775-11127586","DOIUrl":"https://doi.org/10.1215/01610775-11127586","url":null,"abstract":"Allen Kuharski provides a critical summary and expanded framing of the first neh Institute on transmitting and archiving devised physical ensemble theater in American higher education. Kuharski delineates the goals, structure, and planning of the twelve-day gathering of fifty academics, teaching artists, editors, and archivists hosted by him and Quinn Bauriedel of Philadelphia’s Pig Iron Theater Company. The institute’s goal was to provide a platform for longer-term discussions of the historical, theoretical, and critical teaching of devised physical ensemble theater given the proliferation of the teaching of devising practices around the country. Kuharski also places the concerns of the institute within the larger forces challenging contemporary theater, discussing how on the one hand they seem to threaten the historic legacies of such alternative theater practices while on the other these practices may also provide our best future solutions for a vibrant and reformed American live performance practice. The article concludes with an argument for the central role of higher education in the future incubation of an innovative noncommercial American theater.","PeriodicalId":42152,"journal":{"name":"THEATER","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2024-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141135482","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
THEATERPub Date : 2024-05-01DOI: 10.1215/01610775-11127562
Deb Margolin
{"title":"The Body Resists the Word","authors":"Deb Margolin","doi":"10.1215/01610775-11127562","DOIUrl":"https://doi.org/10.1215/01610775-11127562","url":null,"abstract":"","PeriodicalId":42152,"journal":{"name":"THEATER","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2024-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141143142","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
THEATERPub Date : 2024-05-01DOI: 10.1215/01610775-11127594
Ryan Adelsheim, Rye Gentleman, Michelle Hayford
{"title":"Deviant Devising","authors":"Ryan Adelsheim, Rye Gentleman, Michelle Hayford","doi":"10.1215/01610775-11127594","DOIUrl":"https://doi.org/10.1215/01610775-11127594","url":null,"abstract":"Devised theater genealogies too often take shape around a set of primarily white, Western “ensemble-based” theater companies and training schools working in modes that emerged in Europe and the United States in the 1960s and 1970s in response to contemporary political circumstances and eventually found acceptance in the high-brow, avant garde cultural milieu. This cowritten, copresented article works to trouble that narrative by taking up the forms of queer and trans cocreated performance associated with underground queer spaces that have been excluded from histories of devised theater (drag, burlesque, ballroom, cabaret, parties, etc.). Using three case studies written in three different voices—the Chicago Kings, Sean Dorsey Dance and Fresh Meat Productions, and The Fly Honey Show—we examine what an alternative genealogy of devising, one that centers queer and trans artists, might look like.","PeriodicalId":42152,"journal":{"name":"THEATER","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2024-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141131258","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
THEATERPub Date : 2024-05-01DOI: 10.1215/01610775-11127578
Quinn Bauriedel
{"title":"Life of a Dog","authors":"Quinn Bauriedel","doi":"10.1215/01610775-11127578","DOIUrl":"https://doi.org/10.1215/01610775-11127578","url":null,"abstract":"The June 2023 neh Institute—“Preserving and Transmitting American Ensemble-Based Theatre”—aimed to understand the work of the many ensembles who have made work within the United States. Each ensemble has a unique story but the Romanian phrase that an ensemble has “the life of a dog” struck a nerve, positing that ensembles come and go. Maybe so, but this essay suggests that though their candle may burn out, the light they produce lives on. In an era of tremendous uncertainty and extremes of teenage sadness, ensemble theatre as a practice can, and has, galvanized a new generation to take control of the narrative and to make work that speaks directly to the current moment. As seductive as the story is of artists emerging out of necessity during particularly tumultuous times, it helps the next generation know that their work will leave a mark and that meaning within performance is how culture is created.","PeriodicalId":42152,"journal":{"name":"THEATER","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2024-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141135146","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
THEATERPub Date : 2024-02-05DOI: 10.14361/9783839470183
Gianina Druță
{"title":"Ibsen at the Theatrical Crossroads of Europe","authors":"Gianina Druță","doi":"10.14361/9783839470183","DOIUrl":"https://doi.org/10.14361/9783839470183","url":null,"abstract":"While Ibsen's plays were seldom performed in Romania in the first half of the 20th century, historical sources highlight his strong impact on the national theatre practice. To address this contradiction, Gianina Druta approaches the reception of Ibsen in the Romanian theatre in the period 1894-1947, combining Digital Humanities and theatre historiography. This investigation of the European theatre culture and the way in which the foreign acting and staging traditions influenced the Romanian Ibsenites provides new insights into mechanisms of aesthetic transmission. Thus, this study presents a European theatre landscape whose unpredictability and uniqueness cannot be confined to essentialist interpretations.","PeriodicalId":42152,"journal":{"name":"THEATER","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2024-02-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140461757","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
THEATERPub Date : 2024-02-05DOI: 10.14361/9783839470091
A. Wessel
{"title":"Theaterproben und Interaktion","authors":"A. Wessel","doi":"10.14361/9783839470091","DOIUrl":"https://doi.org/10.14361/9783839470091","url":null,"abstract":"Wie werden künstlerische Ideen von Regie und Schauspieler*innen in Theaterproben interaktiv entwickelt, vermittelt und ausgehandelt? Anna Wessel betrachtet Probeninteraktionen aus sprechwissenschaftlicher Perspektive und kombiniert diese mit theaterwissenschaftlichen und linguistischen Aspekten. Dabei stellt sie die Besprechungsphasen von Theaterproben in den Fokus und zeigt auf, welche interaktiven Probenpraktiken zum Einsatz kommen, wie mit ihnen Instruktionen der Regie gestaltet werden und wie die Schauspieler*innen darauf sprachlich und spielend reagieren. Die Erkenntnisse liefern eine neue Perspektive auf interaktive Prozesse theatraler Probenarbeit - in Theorie und Praxis.","PeriodicalId":42152,"journal":{"name":"THEATER","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2024-02-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140461558","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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