{"title":"Dead Children, Resilience, and Diversity","authors":"Judith G. Miller","doi":"10.1162/pajj_a_00612","DOIUrl":"https://doi.org/10.1162/pajj_a_00612","url":null,"abstract":"The seventy-fifth Avignon Festival, exceptional in terms of its overall quality and pensive, rather than ebullient, mood, and in its penultimate year under the direction of playwright and director Olivier Py, proposed “Remember the Future” as its underlying theme. To this seemingly paradoxical directive, the works presented in the official, or “in” festival (sixty in all) nevertheless spoke with almost a single voice: the “remembered” future will be marked by insecurity, pain, and destabilization. Most of the significant productions “re-membered,” then, the ongoing confusion and malaise of lives under Covid, in addition to gesturing to the multiple horrors characterizing the twentieth and twenty-first centuries. These productions projected the coming emotional trajectory as a journey through darkness—a repetition, if not an intensification, of a cataclysmic past. This is not to say that the festival featured plays about Covid, epidemics, or viruses. In fact, there were almost none of those, including among the 1,070 productions in the fringe, or “off” festival. What was remembered and bodied forth was, instead, the affective landscape of the pandemic: dread, exhaustion, and stasis.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"21 1","pages":"82-88"},"PeriodicalIF":0.3,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84189849","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":"Sonic Ecologies","authors":"Seth Woods, M. Maizels","doi":"10.1162/pajj_a_00611","DOIUrl":"https://doi.org/10.1162/pajj_a_00611","url":null,"abstract":"","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"26 1","pages":"71-80"},"PeriodicalIF":0.3,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72477376","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":"Interrogation Room","authors":"Rachel Valinsky","doi":"10.1162/pajj_a_00615","DOIUrl":"https://doi.org/10.1162/pajj_a_00615","url":null,"abstract":"“You may begin the observations at any time,” instructs the First Interrogator, performed by Brian McCorckle. On the stage, bathed in blue light, the Agent (Kayleigh Butcher), sits opposite two seated interrogators (Bonnie Lander and Paul Pinto) in suits and sunglasses, while the first looms over the scene from an elevated platform. The set is sparse and the décor minimal; save for two white, unadorned, freestanding ionic columns, and a self-supporting frame with agape French windows veiled behind threadbare, ethereal curtains, there are few compositional elements to augment the stark setup. The staging is administrative, fitting for an interrogation room.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"16 1","pages":"103-107"},"PeriodicalIF":0.3,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89605819","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":"3 Annunciations","authors":"P. Rambert","doi":"10.1162/pajj_a_00618","DOIUrl":"https://doi.org/10.1162/pajj_a_00618","url":null,"abstract":"Abstract:Three actresses on stage, Silvia Costa, Bárbara Lennie (or Itsaso Arana), and Audrey Bonnet, reclaim the mystery of the annunciation between the Virgin Mary and the Angel Gabriel, played by each of the actresses in her native language. Three monologues, in Italian, Spanish, and French. Three performative speeches explore this motif to question it in the present and draw it toward modernity. Here, the audience becomes the receiver of the revelation, it is in the same position as the Virgin, listening. What could we announce today? What could the contemporary annunciations be? The coming environmental catastrophe? The end of the world? The coming of a new era? A reverse movement? Everything is left open and the imagination rules.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"5 1","pages":"122-137"},"PeriodicalIF":0.3,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91278835","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 Medieval Romance to Contemporary Opera: Philosophy, Allegory, Eros","authors":"K. Soper, Joseph Cermatori","doi":"10.1162/pajj_a_00608","DOIUrl":"https://doi.org/10.1162/pajj_a_00608","url":null,"abstract":"","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"48 1","pages":"41-50"},"PeriodicalIF":0.3,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78834140","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":"Democracy and Theatre in Catalonia Since 1975","authors":"Duncan Wheeler","doi":"10.1162/pajj_a_00614","DOIUrl":"https://doi.org/10.1162/pajj_a_00614","url":null,"abstract":"Urban legend claims that Cava sold out in Catalonia on November 20, 1975, the day General Francisco Franco died. Theatre practitioners saw the dictator’s demise as a call to arms, with 1976 marking the birth of two institutions that continue to play a key role in Barcelona’s dramatic landscape: the Teatre Lliure [Free Theatre] and the Grec Theatre Festival. Critics, practitioners, and journalists from the era were alive to the political significance of the festival and theatre more generally. Even the nomenclature—Grec is Catalan for Greek—was far from incidental. Named after one of the venues, the Greek-style auditorium built on the Montjuic-wooded hill for the 1929 Universal Exhibition and neglected under Franco, it also evoked the close relationship between Athenian democracy and theatre. While not, as is often claimed, banning works in Catalan across the board, the government in Madrid and major theatre impresarios relegated them to the status of provincial curiosities. Featuring plays as well as concerts in both Castilian Spanish and Catalan, the inaugural Grec Festival favored works that had previously been prohibited or at least faced obstacles. Attended by nearly 30,000 spectators, resistance against institutional and linguistic colonialism exercised by the centralized state can retrospectively be seen as a key step towards Barcelona establishing itself in democracy as the theatrical capital of not only Catalonia but also Spain.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"17 1","pages":"93-102"},"PeriodicalIF":0.3,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77726099","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":"A Whole Carnal Stereophony: The Wooster Group Stages Brecht","authors":"W. B. Worthen","doi":"10.1162/pajj_a_00607","DOIUrl":"https://doi.org/10.1162/pajj_a_00607","url":null,"abstract":"writing aloud is not phonological but phonetic: its aim is not the clarity of messages, the theater of emotions; what it searches for (in a perspective of bliss) are the pulsional incidents, the language lined with flesh, a text where we can hear the grain of the throat, the patina of consonants, the voluptuousness of vowels, a whole carnal stereophony .","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"162 1","pages":"28-39"},"PeriodicalIF":0.3,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76757866","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 Diaries of Judith Malina, 1958–1971 (Excerpt)","authors":"Kate Bredeson","doi":"10.1162/pajj_a_00606","DOIUrl":"https://doi.org/10.1162/pajj_a_00606","url":null,"abstract":"","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"43 1","pages":"3-27"},"PeriodicalIF":0.3,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75198735","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":"Romance of the Rose (Excerpt)","authors":"K. Soper","doi":"10.1162/pajj_a_00609","DOIUrl":"https://doi.org/10.1162/pajj_a_00609","url":null,"abstract":"","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"134 1","pages":"51-63"},"PeriodicalIF":0.3,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79892011","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}