{"title":"The Trans Theatre Tipping Point","authors":"B. Rowen","doi":"10.1162/pajj_r_00688","DOIUrl":"https://doi.org/10.1162/pajj_r_00688","url":null,"abstract":"Most LGBTQ+ theatre audience members are familiar with the disappointment of plays with LGBTQ+ topics. Will the queer and/or trans characters survive the play? Will the narrative revolve entirely around being outed, attacked, and/or ostracized? Although these are certainly tropes we have seen in gay and lesbian drama, there have also been standout plays that normalize queerness written by queer writers. And yet like so much else in the fight for LGBTQ+ rights, trans and non-binary representation has struggled with visibility for much longer with far fewer well-known texts that normalize trans presence within a range of stories. Despite Time magazine declaring that there was a “transgender tipping point” in American culture in 2014, almost a decade later theatre still has not caught up to the amount of trans representation seen on television.1","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"14 1","pages":"117-121"},"PeriodicalIF":0.3,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86848343","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":"Modernism’s Hidden Ornament","authors":"William Egginton","doi":"10.1162/pajj_r_00687","DOIUrl":"https://doi.org/10.1162/pajj_r_00687","url":null,"abstract":"The ultimate denigration of ornament has often been attributed to the famous modernist architect Adolph Loos, although he never said the famous words explicitly in his startlingly racist and misogynist 1908 manifesto “Ornament and Crime.” Nevertheless, his statement in that essay, that “the evolution of culture is synonymous with the removal of ornament from utilitarian objects,” captured a prejudice that adorns popular notions of modernist aesthetics to this day. Smooth, functional, opposed in every way to the useless, excessive aesthetics we call baroque.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"93 1","pages":"113-116"},"PeriodicalIF":0.3,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85246074","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":"Historical Legacies","authors":"Paul David Young","doi":"10.1162/pajj_a_00683","DOIUrl":"https://doi.org/10.1162/pajj_a_00683","url":null,"abstract":"Theatertreffen, Berliner Festspiele, Berlin, Germany, May 12–28, 2023.At the start of the 2023 Theatertreffen—the sixtieth annual roundup of the ten best German-language theatre productions of the past year—Ukrainian President Volodymyr Zelensky visited Berlin and was received grandly by Germany’s president, Frank-Walter Steinmeier. Berlin is close to the Polish border, and on the other side of Poland lies Ukraine, a daylong drive from Berlin. One might expect that the imminent danger of Putin’s invasion of Ukraine would have been manifest in the Theatertreffen selections, as it was constantly discussed in the German news and cerebral television talk shows. The seven-member jury, expressly constituted with a quota of over fifty percent women, viewed 451 productions to make the selections, which were restaged in Berlin for the festival.If any theme emerged from the offerings that I saw (seven of the ten chosen productions), it was that German-language theatre continues to examine its cultural consciousness for the roots and recurrence of fascism, or National Socialism. And not without reason, as demonstrated by the arrest in December 2022 of twenty-five co-conspirators of the so-called Reichsbürger movement who were plotting to overthrow the government, including a descendant of the aristocratic Hohenzollern family and a member of the German parliament from the neofascist party Alternative für Deutschland (AfD). A kind of time warp was the other Leitfaden or throughline in Theatertreffen: historicizing storylines, a self-consciousness or embedded critique of the material in order to place it at a historical distance. In this category might fall Ein Sommernachtstraum [A Midsummer Night’s Dream], Ophelia’s Got Talent, Der Bus nach Dachau [The Bus to Dachau], Das Vermächtnis [The Inheritance], Die Eingeborenen von Maria Blut [The Natives of Maria Blut], and Ibsen’s Nora, better known outside of Germany as A Doll’s House. These were, in a sense, presentations of presentations, not entirely successful, but always ambitious.The layering of its ingenious costumes told the (unsubtle) story of the fascist takeover of a village in Die Eingeborenen von Maria Blut, based on a 1937 satirical novel by Maria Lazar, its stage version written by Lucia Bihler and Alexander Kerlin. Bihler directed the production that was initially staged at the Burgtheater, Vienna.1 The fanciful staging, with its bobblehead, child-like characters, gave a frighteningly convincing yet ridiculous account of how easily fascist nonsense becomes mainstream. Die Eingeborenen, in all its silliness, made a stronger political statement than the literal indictment of Nazism found in another Theatertreffen offering, Der Bus nach Dachau, whose reenactment of concentration camps took on a serious subject without evidencing any fresh thought.In German theatre, culture, politics, as well as contemporary history, the echoes of Nazism are always to be heard: as a warning, a parable, or touchstone. Th","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"71 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136354413","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":"Meg Stuart and Anne Teresa De Keersmaeker: Exercises in Endurance","authors":"Kate Bredeson","doi":"10.1162/pajj_a_00672","DOIUrl":"https://doi.org/10.1162/pajj_a_00672","url":null,"abstract":"Meg Stuart’s Cascade and Anne Teresa De Keersmaeker’s The Goldberg Variations, BWV 988 are exercises in endurance. Each choreographer uses a different strategy of endurance to grapple with the theme of interruption. Stuart’s approach is maximalist, while De Keersmaeker employs bareness. The world of Cascade stages stamina and fortitude through excess of scale, sound bombardments, and electrified bodies ricocheting off one another in a dazzling push-pull of shared space and weight. On Philippe Quesne’s set of exaggerated inflatables, dangling rope baskets, and a sharp ramp to nowhere, Cascade blasts pulsing beats, bright lights, and sensory overdrive in a plea for feeling and togetherness. On another stage, De Keersmaeker’s persistence and determination takes shape through a paring down to one dancer—De Keersmaeker—moving through a starkly lit two-hour solo on Minna Tikkainen’s nearly bare stage, accompanied by Alain Franco playing from memory the entirety of J. S. Bach’s 1741 Goldberg Variations. Both Stuart and De Keersmaeker revel in exquisite movement and gesture in these bold pleas for makers and watchers to continue onwards, despite—or perhaps fueled by—discomfort in the face of ongoing obstacle and rupture.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"39 1","pages":"141-146"},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87362082","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 Postsecular Theatre of Romeo Castellucci","authors":"Dana Tanner-Kennedy","doi":"10.1162/pajj_a_00668","DOIUrl":"https://doi.org/10.1162/pajj_a_00668","url":null,"abstract":"In the beginning was the face. In Romeo Castellucci’s 2011 theatre piece On the Concept of the Face, Regarding the Son of God, the titular face was the inescapable, disconcerting, beatific visage of Jesus that dominated the mise-en-scène, gazing out across the audience as it gazed back. Castellucci borrowed the face from a detail of the 1465 oil on wood image known as Christ Blessing painted by Renaissance master Antonello de Messina, which depicts Jesus as Salvator Mundi—the savior of the world. Projected across a vast backdrop that loomed over the action unfolding beneath it, the face stared placidly outwards, luminescent and enormous, inviting—or perhaps challenging— all who viewed it to contemplate its inscrutable regard.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"117 1","pages":"105-117"},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80468351","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":"Beyond the Species and Beyond Death: Staging Mozart’s Requiem","authors":"Romeo Castellucci, Piersandra Di Matteo","doi":"10.1162/pajj_a_00667","DOIUrl":"https://doi.org/10.1162/pajj_a_00667","url":null,"abstract":"Over the course of the centuries, and increasingly since early modern times, Western culture has activated strategies aimed at obscuring death as a concrete and recognizable event and placing its representation within imaginaries that move towards a collective repression. Thus, death and forms of mourning have been transformed along the same lines as the change between “body” and “corpse,” casting a shadow over the experience of loss in public life. On the contrary, in contemporary necropolitics, the instrumental use of human existence (and of its end) is exhibited as a political-symbolic legitimization of how particular groups and subjects are exposed to the risk of death, accepted as a socially acceptable eventuality (as in the care of migrants).1 Within the context of this paradoxical imbalance, in Judith Butler’s studies on contemporary forms of mourning, the urgency of reconnecting grief is considered within the community. This not only leads to a need to redefine the concept of what is “human,” based on an awareness of our shared vulnerability and the precariousness of our lives, but also to reclaim collective mourning as an exercise of social justice and an ethical responsibility that must be shared.2","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"12 1","pages":"96-104"},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86662383","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 Shape of Light: Meditations on Hong Kong","authors":"J. Mansbridge","doi":"10.1162/pajj_a_00659","DOIUrl":"https://doi.org/10.1162/pajj_a_00659","url":null,"abstract":"","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"21 1","pages":"34-40"},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74450093","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":"Sounding the Gospel Play","authors":"Rebecca Kastleman","doi":"10.1162/pajj_a_00664","DOIUrl":"https://doi.org/10.1162/pajj_a_00664","url":null,"abstract":"There is no gospel without its proclamation. Not merely “good news” sealed and delivered, gospel is testimony enacted and performed. By extension, gospel music, an art form that originates in Black American churches and in the experience of the Great Migration in the early twentieth century, instantiates the biblical Gospels as a religious tradition that is at once oral and scriptive. Through its performance, gospel music embodies new conditions of biblical interpretation and belief for a modern American audience. If this music is, as Braxton D. Shelley has put it, a “means by which to make one’s way through the world,” then the sound of gospel—with its characteristically kinetic, participatory musical textures and its soaring, enveloping feel—offers a roadmap of spiritual and social transformation, encoding “an expansive genealogy of sacred expression” that draws upon nineteenth-century Christian revivals and Afro-diasporic religious practices.1 The shimmering afterglow of a gospel sensibility ripples through a range of contemporary theatrical performances, from Ntozake Shange’s 1976 choreopoem for colored girls who have considered suicide / when the rainbow is enuf to the Afrofuturist ritual stagecraft of Daniel Alexander Jones’s drag alter ego, Jomama Jones. Yet for all that gospel music has embraced high drama (in its dizzying vocality, its raw testimonials, its melodies that billow like the voluminous robes of a choir), drama has not always returned the embrace. Gospel has had a particularly uneasy relationship to contemporary experimental performance, in that the discontinuous, iconoclastic aesthetics of the latter seem inherently at odds with gospel’s soulful intensity.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"27 1","pages":"70-81"},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77950719","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}
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