THEATRE SURVEY最新文献

{"title":"Crossing Collaborative Borders: The Making and Becoming of ÓRALE! by David Herrera Performance Company and El Vez, the Mexican Elvis","authors":"Karen Jean Martinson, Julia E. Chacón","doi":"10.1017/s0040557424000292","DOIUrl":"https://doi.org/10.1017/s0040557424000292","url":null,"abstract":"<p></p><p>Your time has come to fly</p><p>You have no borders</p><span>—El Vez, “Órale,” sung to the tune of “Bridge over Troubled Waters”</span><p></p><p>With brightly colored <span>papel picado</span> (cut paper banners), tissue flowers, and Latin American flags festooning the performance area at San Francisco's Z Space, David Herrera Performance Company's September 2023 event, <span>ÓRALE!,</span> promised fun and festivity. On its surface, the performance resembled a typical dance program, with an ensemble of ten dancers performing eleven separate pieces choreographed to songs from the catalog of El Vez, the Mexican Elvis, but an exciting hybrid form of movement theatre emerged through the interplay of live music, dance, and El Vez. Built around the music and performances of Robert Lopez, who has performed as El Vez for more than thirty years, <span>ÓRALE!</span> offered an opportunity for an intergenerational community of artists to find themselves in El Vez's work, and for Lopez to see his own vision reflected in the interpretations of the young dancers and choreographers involved. This article considers how <span>ÓRALE!</span> harnesses the creative possibilities of resisting the implied disciplinary borders that too often separate music, dance, and theatre performance. We begin by discussing the creative invitation that El Vez offers, to make clear how he uses his art as a form of world building, using popular culture to critique US American society, make visible the disparate cultural traditions that exist within US American cultural forms, and to envision new ways of being. We then discuss <span>ÓRALE!</span> following two different through lines: process and product. The collaborative process of <span>ÓRALE!</span> was a site of cultural, intergenerational, and geographic exchange, inviting both performers and audience into a genre-defying performance that raised critical questions around intermediality and transtemporality in the arts. As a process very much in development, the collaboration experimented with learning through doing that led to a performance event that was at times messy and at times magical. Following Elizabeth Ellsworth, <span>ÓRALE!</span> was an example of “knowledge in the making,” a fluid experience through which “the self is understood as a becoming, an emergence, and as continually in the making. This . . . moves us beyond a contemporary politics of difference based in semiotics and linguistics toward an experimental ‘pragmatics of becoming’ based on making and doing.” The event embodied a Muñozian process of disidentification to bring into being a utopian present, residing in this space of becoming and of knowledge in the making to reveal the complexities of Latinx subjectivity while rejecting essentialist understandings of race, ethnicity, and culture.</p>","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"14 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-11-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142673879","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":"Jacques Copeau's “The Spirit in the Little Theatre”: Contexts and Texts","authors":"J. Ellen Gainor, John Un","doi":"10.1017/s0040557424000140","DOIUrl":"https://doi.org/10.1017/s0040557424000140","url":null,"abstract":"<p>The story of influential French stage director Jacques Copeau's 1917–19 residency in New York City was documented at the time by Copeau himself and subsequently analyzed by Copeau scholars.<span>1</span> Copeau (1879–1949) is remembered today for his innovative, experimental theatre work in the early twentieth century; he developed core practices that became foundational for modernist stage artistry, including mime and physical theatre as well as devised theatre techniques.<span>2</span> In 1913, he established his Théâtre du Vieux-Colombier in Paris, breaking away from traditional ornate design practices and envisioning an ensemble of actors trained in methods comparable to those used by Konstantin Stanislavsky, although Copeau knew comparatively little of his techniques at this time.<span>3</span> Copeau's “‘attempt at dramatic renovation’”<span>4</span> included staging plays to be performed in repertory and maintaining modest budgets and ticket prices to secure financial stability. In these and other regards, his vision paralleled those of other modernist colleagues not only in Europe, but also in the United States, where the Little Theatre movement was already underway,<span>5</span> although Copeau similarly had little knowledge of US theatre at this early moment.</p>","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"44 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141156716","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 Spirit in the Little Theatre (1917)","authors":"Jacques Copeau","doi":"10.1017/s0040557424000139","DOIUrl":"https://doi.org/10.1017/s0040557424000139","url":null,"abstract":"<p>Ladies and Gentlemen,</p><p>[It] may be that never before in my life have I had to meet such a trial as I am undergoing today.</p>","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"8 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141079423","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 Queen of the Vic: Eliza Vincent's Actress-Management of the Victoria Theatre, London, 1841–1856","authors":"Stephen Ridgwell","doi":"10.1017/s0040557424000097","DOIUrl":"https://doi.org/10.1017/s0040557424000097","url":null,"abstract":"<p>Early in 1850, Charles Dickens went to the Victoria Theatre in Lambeth. One of several theatres sited close to the bridges linking the southern bank of the Thames with the north, the Vic was a prominent neighborhood institution catering to a mostly working-class audience. Launched in 1818 as the Royal Coburg Theatre, a move designed to coincide with the opening of Waterloo Bridge, its investors’ hopes of drawing a more upmarket crowd were largely disappointed. Visiting the theatre in 1820, William Hazlitt was distressed to find Junius Brutus Booth among an ill-assorted and noisy throng, and in 1831 Edmund Kean was reduced to haranguing the “unmitigated brutes” gathered before him. Pelted with orange peel and nutshells, he still drew his nightly fee of £50. Although research by Jim Davis and Victor Emeljanow has revealed an audience more varied than once assumed, upon the changing of its name in 1833, the Victoria's core clientele was more or less established, as indeed was its reputation for the bloodier aspects of popular drama. It had also experienced regular changes of management, sudden spells of closure, and periodic clashes with the authorities. Suitably enough for what follows, by 1840, the Vic was judged to have suffered “more vicissitudes” than any other theatre in London.</p>","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-05-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140919872","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":"“Put money in thy purse. Follow thou the wars”: Othello, the Mexican–American War, and Manifest Destiny","authors":"Charlotte M. Canning","doi":"10.1017/s0040557424000115","DOIUrl":"https://doi.org/10.1017/s0040557424000115","url":null,"abstract":"<p>In the winter of 1845–6 the United States Army languished on the border waiting for an opportunity to provoke what would be the Mexican–American War, or, as the Mexicans would come to call it, <span>La Intervención Americana</span>. To break the dull monotony, the army turned to theatre. In January, Second Lieutenant Ulysses S. Grant was cast as Desdemona in a production staged for the troops and the local community. Grant would later be the victorious general in the Civil War and the eighteenth president of the United States from 1869 to 1877. He was not yet that person. In 1846 he was a twenty-four-year-old, newly commissioned officer, only three years out of the US Military Academy. His peers, a cohort of junior officers who would become the senior military leadership on both sides of the Civil War, were also actors in the production, as well as its producers. The anecdote is humorous in large part because the Grant of national record and memory is the least Desdemona-like figure anyone can conceive. It has been repeated multiple times across the nineteenth century and still holds in the imagination almost two hundred years later.</p>","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"27 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140819991","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":"Richard Pryor’s Sonic Acts: Epistemological Rupture at the Hollywood Bowl, 18 September 1977","authors":"Eleanor Russell","doi":"10.1017/s0040557424000103","DOIUrl":"https://doi.org/10.1017/s0040557424000103","url":null,"abstract":"<p></p><p>The jokes that stick in people's minds are the ones they don't quite get.</p><p></p>","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"81 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140819998","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":"An Endless Capacity for Dissembling: Representing Teenage Girls on the American Stage from The Children's Hour through If Pretty Hurts Ugly Must Be a Muhfucka","authors":"Bess Rowen","doi":"10.1017/s0040557423000315","DOIUrl":"https://doi.org/10.1017/s0040557423000315","url":null,"abstract":"<p>One day in 2018, I arrived at Playwrights Horizons in New York City excited to see a new play by Lindsey Ferrentino called <span>This Flat Earth</span>. I did not know much about the story aside from the fact that it had teenage actors playing teenager characters, but I quickly realized that it was about two teens trying to make sense of a recent mass shooting event as their school. The most striking part of this experience was watching Ella Kennedy Davis playing a thirteen-year-old white girl named Julie who takes out her anger, grief, and confusion about this senseless violence on those around her. Davis spent much of the play on the emotional limits of anguish, screaming, crying, and shaking to the point where she continued to do so throughout the curtain call. Both my discomfort with the actor's obvious distress, and my genuine dislike for the whiny, sad, one-dimensional role—whose main characteristic is her ignorance of previous school shootings—were enough to distract me from the play itself. But what created this distancing effect? I first thought of Bert O. States's phenomenological observation that children onstage often break our illusion of the theatrical world, but I noted that my phenomenological response was distinctly different from what I feel when I see children acting onstage. Instead of wondering if the actor understood the play she was in, I instead feared she understood all too well.</p>","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"104 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140146203","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":"Queer Performance and Radical Possibilities: Bill Butler and the Post-Stonewall Roller Disco","authors":"Melissa Lin Sturges","doi":"10.1017/s0040557424000012","DOIUrl":"https://doi.org/10.1017/s0040557424000012","url":null,"abstract":"<p>The preface of Bill Butler and Elin Schoen's 1979 skating instruction manual, <span>Jammin’,</span> teems with encouragement, but offers one slight warning. Welcoming his first-time skaters, Butler tells the reader, “chances are, once you've roller-discoed, you won't want to stop. You'll want to stay on wheels. And there's no reason why you shouldn't, even if you're not in a rink.” With the tagline “[everything you need to know to get up and boogie down!],” <span>Jammin’</span> begins with “skating the rail”—a necessary means for first-timers to establish balance, appreciate the tempo of the rink, and learn to control the skates beneath them. Butler then goes on to describe couples skating, group skating, and dancing in place, each of which articulates a relationship to tempo and “the beat,” to the other individuals in the rink, and the contradictions of the rink itself. <span>Jammin’</span> therefore proposes a practice of emphatic improvisation that is decidedly nonlinear and centers an expressive practice. <span>Jammin’</span> also cites the logistics and pleasures associated with skating as a community. These logistics and pleasures include everything from “dealing with other people” to “how to become a disco dazzler in one minute flat.” Butler tells us the secret of both is, simply put, to <span>relax</span>.</p>","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"84 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140146127","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":"Yeats's Photographs and the World Theatre of Images","authors":"Kevin Riordan","doi":"10.1017/s0040557423000303","DOIUrl":"https://doi.org/10.1017/s0040557423000303","url":null,"abstract":"<p>W. B. Yeats's dramatic career was transformed in the 1910s through a series of collaborations in London. In an essay from the period, “Certain Noble Plays of Japan,” he writes: “I have invented a form of drama, distinguished, indirect and symbolic.” This form, like many other modernist inventions, is better understood as something else, in this case the alchemy of his earlier work, some eclectic influences, and the contributions of his American, English, French, and Japanese collaborators. Together, this group of artists drew on Irish mythology, the occult, the continental avant-garde, and—as often has been stressed—Japanese <span>noh</span>. Originally, the “Certain Noble Plays” essay was published as an introduction to a related <span>noh</span> project, Ezra Pound's liberal completion of Ernest Fenollosa and Hirata Kiichi's incomplete translations. There have been at least four book-length studies on the relationship between Yeats and <span>noh</span>, as well as many theses and articles. It remains an exemplum of transnational modernist theatre.</p>","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"111 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2024-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140146185","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":"Performing Celebrity and Anna Renzi's Cross-Dressed Performance as Ergindo","authors":"Claudia Rene Wier","doi":"10.1017/s004055742300025x","DOIUrl":"https://doi.org/10.1017/s004055742300025x","url":null,"abstract":"<p></p><ul><ul>Quickly Ascending to Heaven,</ul><ul>Hermaphrodite Beauty</ul><ul>of the celestial magic,</ul><ul>You descend to animate</ul><ul>Angelic aura,</ul><ul>alone in your clear, eternal beauty</ul><ul>all other beauties stand before you.</ul><ul>While ANNA's voice,</ul><ul>In Deidamia converses,</ul><ul>a musical passage dissolves</ul><ul>in the aura, a most divine ray</ul><ul>although enclosed within an earthly veil,</ul><ul>it knows the harmony of heaven on earth.<span>1</span></ul></ul><p></p>","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"29 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138823177","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}