{"title":"Archiving in Twilight","authors":"Patrick Scorese","doi":"10.1162/pajj_r_00619","DOIUrl":"https://doi.org/10.1162/pajj_r_00619","url":null,"abstract":"As the Covid pandemic casts its shadow over the globe for a third year, its impact on theatre—as with everything else—cannot be ignored. Just enough time has passed for the first of many substantial works by theatre practitioners and scholars to emerge and assess the ways in which theatre has thrived and helped us to survive in the process. Barbara Fuchs’s Theater of Lockdown and Caridad Svich’s Toward a Future Theatre are two such projects, casting light on this evolving corpus. The books consider a vast array of theatre-makers as they advanced their works through the ongoing health crisis. New roles for both artist and spectator are taking shape while the nuances of liveness, co-presence, and co-temporality are tested as live artists move online to discover that the digital space can be genuinely live, and distance is not so far away.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"11 1","pages":"138-142"},"PeriodicalIF":0.3,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81693897","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":"Ragnar Kjartansson and the Art of Pleasure","authors":"Philip Auslander","doi":"10.1162/pajj_a_00616","DOIUrl":"https://doi.org/10.1162/pajj_a_00616","url":null,"abstract":"Icelandic artist Ragnar Kjartansson’s nine-channel video installation The Visitors, acclaimed by The Guardian as “the best artwork of the century so far,” was commissioned by the Migros Museum in Zürich in 2012 and has been traveling the world ever since.1 Kjartansson gathered a group of friends from the Reykjavik music scene and installed them for a week in the mansion at Rokeby, a nineteenth-century estate in upstate New York owned by descendants of the Astor family. At the end of the week, they filmed the videos that make up the installation simultaneously in a single take. Eight of the nine screens that make up the installation show a single room in the house containing, for most of the piece’s sixty-four minute run time, a single musician, including three guitarists (two electric and one acoustic), two pianists (one of whom doubles on bass guitar), an accordionist, a cellist, and a drummer. Although these musicians are physically separate from one another, they wear headphones that enable them to hear each other playing. They are also guided by Kjartansson’s graphic score, which breaks the music down into individual units and identifies the instrumentation of each segment as well as chord progressions and other sonic events.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"206 1","pages":"108-119"},"PeriodicalIF":0.3,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89013623","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":"Breakthrough into Performance: A Touchstone Work of Late Modernist American Poetry","authors":"J. McGann","doi":"10.1162/pajj_a_00594","DOIUrl":"https://doi.org/10.1162/pajj_a_00594","url":null,"abstract":"T he first public radio station in the United States, KPFA in Berkeley, California, began broadcasting in April 1949. A legendary counter-cultural enterprise, its initial program months aired a daily fifteen-minute performance of one of the most consequential literary works of late Modernist world literature, Jaime de Angulo’s ethnopoetic masterpiece Old Time Stories (announced as “Indian Tales”). The musicologist, composer, and writer Peter Garland has justly called it a “story-epic . . . unique in American literature.”1 It is unique not because of its epic extent and ambition. It is unique because of its oral performance, which in its currently authorized but incomplete state runs for some twenty-two hours.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"35 1","pages":"16-29"},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89618761","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 Summer Solstice Celebration","authors":"J. Klein","doi":"10.1162/pajj_a_00600","DOIUrl":"https://doi.org/10.1162/pajj_a_00600","url":null,"abstract":"This year’s Summer Solstice Performance Art Festival, “Alchemy and Intention,” would have been a wonderful event on any occasion. The weather was perfect, the cost of entry (and parking) a mere five dollars, and the refreshments plentiful and inexpensive. A beautiful, lush park, full of native plants, trees, and large, site-specific sculptures, served as the setting for the thirteen commissioned performances. The artists and artist collectives performed in, around, and even on top of sculptures as the sun slowly set on the newly minted federal holiday, Juneteenth. Although billed as a summer solstice event, the festival, which concluded after midnight with a ritual bonfire, took place a half-day shy of the actual solstice.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"112 1","pages":"60-65"},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90086471","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":"Good Morning","authors":"Carla Harryman","doi":"10.1162/pajj_a_00603","DOIUrl":"https://doi.org/10.1162/pajj_a_00603","url":null,"abstract":"","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"266 1","pages":"89-117"},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88202044","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":"Virtue Signaling Through the Flames","authors":"Dana Tanner-Kennedy","doi":"10.1162/pajj_a_00598","DOIUrl":"https://doi.org/10.1162/pajj_a_00598","url":null,"abstract":"Brandishing obsessively millennial memes, some deliciously cheap theatrics, and a caustic Wildean wit, experimental theatre company Fake Friends’ Drama Desk-nominated Circle Jerk provided a delectable banquet of social critiques reminiscent of Charles Ludlam and the Ridiculous Theatrical Company. The performance exposes internet fakery, racism in white gay culture, and the sclerotic political discourse of our post-truth era wrapped in a whirlwind of theatre history references and bad wigs.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"145 1","pages":"49-54"},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80478251","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":"Dreaming: A Public Poem","authors":"Alain Arias-Misson","doi":"10.1162/pajj_a_00597","DOIUrl":"https://doi.org/10.1162/pajj_a_00597","url":null,"abstract":"The Public Poem is a form I invented in 1967 and have performed in many European cities over the decades. For the last six years in Spain, I had been making “concrete” poems, seeing the sheet of paper as a two-dimensional surface which the typewriter could occupy spatially, then placing Letraset letters on superimposed plexiglass sheets that provide a third dimension of depth. One day, looking about in the street, I thought, “If I can place letters on these surfaces, then I can ‘write’ on the street, as well.” I quickly discovered the cheap, light, industrial material of polystyrene which could be easily cut into letter shapes—the size of the human beings who occupy the streets—and thus enter into a dialogue with them and the urban space. At first, I placed the letters and words at strategic sites of the city, but soon I found that carrying them with a team was more eloquent, like a hand holding a pen moving across the page. I often used a classic concrete poetry device, the permutation and recombination of letters, in choosing a mother-word or matrix that could be broken up into other words and then form phrases—even entire sentences—as we moved along, like text passing across a giant electronic screen where one or two words may appear at a time, and a sentence is eventually formed.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"580 1","pages":"30-36"},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77368022","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":"My (De)vices","authors":"C. Bernstein","doi":"10.1162/pajj_a_00593","DOIUrl":"https://doi.org/10.1162/pajj_a_00593","url":null,"abstract":"","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"242 1","pages":"14-15"},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86232974","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 Ghetto in European Perception: From Cities to Bodies","authors":"Rossella Mazzaglia","doi":"10.1162/pajj_a_00601","DOIUrl":"https://doi.org/10.1162/pajj_a_00601","url":null,"abstract":"Between 2010 and 2015, the political pressure on European countries reached its peak during the so-called “migrant crisis.” At that time, migration was already a highly debated issue due to the permanent population flows from Africa and the Middle East, as well as the silent exodus from the East, due to the collapse of communism and the enlargement of the European Union. Yet it became a more pressing matter following the Arab Spring in 2011. Refugees asking for asylum reached their highest numbers since World War II, and new regulatory frameworks among EU member states became a ground for political negotiations. In the meantime, the world witnessed a number of unprecedented tragedies. In October 2013, three hundred and eighty-six people lost their lives on a boat a few miles from the Lampedusa shore. In April 2015, seven hundred shipwrecked victims were counted in the Sicilian Strait. Further, landed migrants came to face new barriers. Following the first attempts at government aid, some were repatriated, most were temporarily confined in camps, while heated discussions revolved about the shared responsibility of Northern countries concerning the distribution of migrants among member states. The sea interventions, containment strategies, and the strengthening of external borders (alongside the emergence of new internal ones) dominated the transnational debate, impacting a number of national political campaigns.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"10 37 1","pages":"66-78"},"PeriodicalIF":0.3,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80654125","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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