THEATRE SURVEY最新文献

Staging the Entangled Human–Natural–Technological Worlds in Jungle Book Reimagined 再现《丛林之书》中纠缠的人类-自然-科技世界

IF 0.2 3区艺术学

THEATRE SURVEY Pub Date : 2025-11-11 DOI: 10.1017/s0040557425100641

Jihay Park

{"title":"Staging the Entangled Human–Natural–Technological Worlds in Jungle Book Reimagined","authors":"Jihay Park","doi":"10.1017/s0040557425100641","DOIUrl":"https://doi.org/10.1017/s0040557425100641","url":null,"abstract":"The Jungle Book (1894) is a nineteenth-century book of children’s fables written by Rudyard Kipling. While the story is often criticized for its colonial overtures, 1 this wolf story, as an antithesis to the modern separation of nature and humanity, introduces a romantic view of nature where it is represented as a source of renewal and wholeness. The fiction imagines an amicable relation between humans and other-than-human beings through the myth of child-raising wolves. In the face of worsening climate crisis, the wolf tale in Akram Khan’s Jungle Book Reimagined (2022) takes a step further and expresses contemporary fears of human extinction and environmental deterioration. Jungle Book Reimagined , a dance production that premiered at Curve Theatre in Leicester in 2022, has since been performed at Lincoln Center’s Rose Theater, Sadler’s Wells Theatre, Théâtre du Châtelet, and multiple other theatres worldwide, and was also presented as a five-minute film at the Edinburgh International Culture Summit in 2022. The emancipatory life in the Anthropocene that the colonial fantasy envisages is adapted in Khan’s ecological makeover as a new mode of theatre situated within the broader narrative of the Anthropocene. Khan takes an ecocritical turn and reimagines Mowgli’s journey in a way that engages with Anthropocene thinking, imagining how the apocalyptic vision of the future of humanity would be different if we were more of a listener to the nonhuman world.","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"11 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2025-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145485676","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}

引用次数: 0

LeAnn Fields and University of Michigan Press LeAnn Fields和密歇根大学出版社

IF 0.2 3区艺术学

THEATRE SURVEY Pub Date : 2025-11-11 DOI: 10.1017/s0040557425100653

Gina M. Di Salvo, Jill Dolan, Una Chaudhuri, Harry J. Elam, Marvin Carlson, Henry Bial, Carrie Sandahl, Harvey Young, Daniel Sack, Natalie Álvarez, Kareem Khubchandani, Christin Essin, Esther Kim Lee, Jill Dolan

{"title":"LeAnn Fields and University of Michigan Press","authors":"Gina M. Di Salvo, Jill Dolan, Una Chaudhuri, Harry J. Elam, Marvin Carlson, Henry Bial, Carrie Sandahl, Harvey Young, Daniel Sack, Natalie Álvarez, Kareem Khubchandani, Christin Essin, Esther Kim Lee, Jill Dolan","doi":"10.1017/s0040557425100653","DOIUrl":"https://doi.org/10.1017/s0040557425100653","url":null,"abstract":"In 1987, LeAnn Fields acquired Lynda Hart‘s Making a Spectacle: Feminist Essays on Contemporary Women’s Theatre. By the time Fields retired in 2024, she had built a list of more than 280 books in the field of theatre and performance studies at the University of Michigan Press. Hart’s Making a Spectacle is a foundational and still radical book of critical essays on gender, the body, and spectatorship, topics that continue to chart and reverberate among the many intellectual commitments of our field. Like nearly all the books that Fields acquired for University of Michigan Press, Making a Spectacle drew from and responded to another interdisciplinary field of study, women’s studies, as it simultaneously broke new ground in theatre and performance studies. In this special section, thirteen authors discuss the ways in which Fields encouraged the development of their work and our field. These author accounts are followed by an interview with Fields by Jill Dolan, in which Fields describes how her work as an acquisitions editor began and how it changed, how she navigated the press boards and changes in technology and staffing, and how, from her perspective, our field fosters a unique sense of community. The author accounts and interview offer an invaluable collection of personal histories that trace the development of our field over the past four decades to our vibrant present.","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"48 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2025-11-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"145485784","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}

引用次数: 0

Njoki McElroy’s Radical Oral Interpretation of Literature 恩约基·麦克尔罗伊对文学的激进口头解释

IF 0.2 3区艺术学

THEATRE SURVEY Pub Date : 2025-11-11 DOI: 10.1017/s004055742510063x

Judith Hamera

引用次数: 0

Changing the Musical’s Major: Beautiful and Fun Home Redefine Feminist Historiography 改变音乐剧的专业：美丽而有趣的家重新定义女权主义史学

IF 0.2 3区艺术学

THEATRE SURVEY Pub Date : 2025-11-11 DOI: 10.1017/s0040557425100665

Laura MacDonald

引用次数: 0

Gender and Nation as Symbolic Challenge: The British Reception of Swedish Playwright Anne Charlotte Leffler’s True Women 性别与民族作为象征性的挑战：英国对瑞典剧作家安妮·夏洛特·莱弗勒的《真正的女人》的接受

IF 0.2 3区艺术学

THEATRE SURVEY Pub Date : 2025-05-02 DOI: 10.1017/s0040557425000067

Birgitta Lindh Estelle

{"title":"Gender and Nation as Symbolic Challenge: The British Reception of Swedish Playwright Anne Charlotte Leffler’s True Women","authors":"Birgitta Lindh Estelle","doi":"10.1017/s0040557425000067","DOIUrl":"https://doi.org/10.1017/s0040557425000067","url":null,"abstract":"Women writers from the peripheries and semiperipheries of Europe who participated in the metropolitan melting pots of new ideas at the fin de siècle are often marginalized or excluded in historiographical accounts, making their contributions to a European cultural heritage invisible.1 This marginalization, shared by numerous women playwrights and artists, prompts the need to explore ways of providing a fair account of their contributions. Swedish playwright Anne Charlotte Leffler (1849–92) was one of these women who set out on a European journey to try her luck with an international career. In this essay I explore her contribution to the late nineteenth-century London avant-garde with her play Sanna kvinnor (1883) [True Women, 1892].2 The application of any quantitative method, or those that rely solely on the translation, staging, publication, and reviews of actual plays, would likely obscure rather than illuminate the reception of her work. To contextualize the reception of Leffler’s play, it is necessary to adopt a theoretical perspective that integrates the political and the artistic, while also considering Leffler’s status as a foreign playwright in Britain. Furthermore, the pattern of reception requires theoretical conceptualization and evaluation in line with the social and cultural position of women at the time. In the case of Leffler, this conceptualization should consider the reception of her embodiment of the New Woman together with her contribution to theatre as part of the endeavors of a personal network marked by blurred boundaries between the private and the public, as well as between life, politics, and art.3","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"50 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2025-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143897754","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}

引用次数: 0

Claiming Ancient Egypt: Operetta ‘Aida and the Making of Modern Egyptians 宣称古埃及：歌剧《阿伊达》与现代埃及人的形成

IF 0.2 3区艺术学

THEATRE SURVEY Pub Date : 2025-03-25 DOI: 10.1017/s0040557425000031

Carmen Gitre

引用次数: 0

Staging Stalingrad: Building a Wartime Alliance, Pro-Soviet Propaganda, and the Trope of the Two Americas, 1942–1947 上演斯大林格勒：建立战时联盟、亲苏宣传和两个美洲的比喻，1942-1947

IF 0.2 3区艺术学

THEATRE SURVEY Pub Date : 2025-03-24 DOI: 10.1017/s0040557425000055

Valleri Robinson

引用次数: 0

The British Council and the Marat/Sade Controversy 英国文化协会与马拉/萨德之争

IF 0.2 3区艺术学

THEATRE SURVEY Pub Date : 2025-01-16 DOI: 10.1017/s0040557424000395

James Hudson

{"title":"The British Council and the Marat/Sade Controversy","authors":"James Hudson","doi":"10.1017/s0040557424000395","DOIUrl":"https://doi.org/10.1017/s0040557424000395","url":null,"abstract":"One of the world's most enduring and successful cultural diplomacy organizations, the British Council (BC) has played a prominent role in promoting and exporting British theatre, literature, and language across the globe since its founding in 1934. A key component of the BC's self-proclaimed remit of “forging links between Britain and other countries through cultural exchange,” the organization's Drama Division has over its lifetime worked to sponsor and facilitate the overseas touring of a significant number of British theatrical enterprises, exporting both large-scale national company productions with substantial casts and a repertoire of shows, as well as individual actors, directors, and academics embarking on speaking tours. From the stage, renowned actors and star names such as Laurence Olivier, Ralph Richardson, Vivien Leigh, Peggy Ashcroft, and John Gielgud were routinely chosen by the BC to appear in series of “theatrical manifestations,” serving in dual capacities both as actors in productions and ambassadors for a nation—the word “manifestation” being the BC's own preferred terminology used to refer to the export of a cultural event during the middle of the past century. Yet unlike comparable accounts of the relationship between the Arts Council and theatre, we possess no systematic study of the BC's involvement in this field, meaning that fundamental questions about the nature, range, and impact of the BC's cultural activity remain unanswered. Indeed, until comparatively recently, the history of the BC has failed to generate much scholarly interest at all, but the nature of its imbrication within British theatrical culture in particular remains severely occluded.","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"92 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2025-01-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142986069","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}

引用次数: 0

(Re)Imagining the Polis: Audience Participation as Postdramatic Discourse （再）想象城邦：观众参与作为后戏剧话语

IF 0.2 3区艺术学

THEATRE SURVEY Pub Date : 2025-01-16 DOI: 10.1017/s0040557424000243

William W. Lewis

{"title":"(Re)Imagining the Polis: Audience Participation as Postdramatic Discourse","authors":"William W. Lewis","doi":"10.1017/s0040557424000243","DOIUrl":"https://doi.org/10.1017/s0040557424000243","url":null,"abstract":"How much is enough? The relevance of this question comes from individual expectations regarding value. What is value and how does it manifest through our daily interactions? There is a qualitative difference between the concept of value and individual and collective values. Is there such a thing as a common good when it comes to either? Values are a social construct formed through a process of analysis, dialogue, and assessment within any given community. Though each individual's value system has varying degrees of difference, an agreed-upon system of values is created within and through communication, communion, and coalition. In contemporary societies, it seems the importance of unified community values has diminished in favor of the individual due to the rise of late capitalism, consumer culture, mediatization, political polarization, and the various signposts of neoliberalism. Postdramatic scholar Hans-Thies Lehmann states, “It is a fundamental fact of today's Western societies that all human experiences (life, eroticism, happiness, recognition) are tied to commodities or more precisely their consumption and possession (and not to a discourse).” Lehmann's assertion leads me to ask some striking questions relating to the theatrical practices that guide this essay. Namely, how have large-scale social systems of the contemporary era increasingly divested from community values, instead opting for smaller and smaller factions of identification? Without belief in a larger community good, what use is democracy?","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"31 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2025-01-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142986107","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}

引用次数: 0

The Avant-Garde Practices of Gwendolen Bishop 关德林·毕晓普的先锋派实践

IF 0.2 3区艺术学

THEATRE SURVEY Pub Date : 2025-01-16 DOI: 10.1017/s0040557424000383

Simon Shepherd

{"title":"The Avant-Garde Practices of Gwendolen Bishop","authors":"Simon Shepherd","doi":"10.1017/s0040557424000383","DOIUrl":"https://doi.org/10.1017/s0040557424000383","url":null,"abstract":"Gwendolen Bishop is a name that appears in the margins of my recent account of the English avant-garde theatre. Prior to that she barely made it even into the margins, and then often with some rather significant indecision as to how actually to spell her name. The aim of this essay is to retrieve her from the margins and bring her more centrally into view. In doing so I consciously weave together her arts practices and her personal life, for these are deeply connected. The making of an avantist culture in early twentieth-century England was done not simply by arts experiments but also by kinds of behavior that challenged dominant ideas. In our Western twenty-first century we note and make much of Edwardian behaviors that contested assumptions about gender and sexuality, but we should note, alongside that, some equally striking challenges to ideas about class. Both are apparent in the Bishop story, which I tell more or less as a biographical narrative. The danger when one recovers a person from the shadows is that, in trying to situate them among their contemporaries, one writes overmuch about those contemporaries, such that our person fades again into the mists. With our biographical focus fixed solidly on her we can, I hope, discover how Gwendolen Bishop made her very particular contribution to this exciting cultural period on the eve of modernism.","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"8 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2025-01-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142986068","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}

引用次数: 0