THEATRE SURVEY最新文献_第4页

“Put money in thy purse. Follow thou the wars”: Othello, the Mexican–American War, and Manifest Destiny "把钱放进你的钱包。跟着战争走"：奥赛罗》、美墨战争和 "天命 "论

IF 0.2 3区艺术学

THEATRE SURVEY Pub Date : 2024-05-02 DOI: 10.1017/s0040557424000115

Charlotte M. Canning

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引用次数: 0

Richard Pryor’s Sonic Acts: Epistemological Rupture at the Hollywood Bowl, 18 September 1977 理查德-普赖尔的《声波行为》：1977 年 9 月 18 日，好莱坞露天剧场，认识论断裂

IF 0.2 3区艺术学

THEATRE SURVEY Pub Date : 2024-05-02 DOI: 10.1017/s0040557424000103

Eleanor Russell

引用次数: 0

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 无穷无尽的分解能力：从《儿童时代》到《如果漂亮会伤人，那么丑陋一定是个混蛋》，美国舞台上的少女形象

IF 0.2 3区艺术学

THEATRE SURVEY Pub Date : 2024-03-18 DOI: 10.1017/s0040557423000315

Bess Rowen

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引用次数: 0

Queer Performance and Radical Possibilities: Bill Butler and the Post-Stonewall Roller Disco 同性恋表演与激进的可能性：比尔-巴特勒与后石墙滚筒迪斯科舞厅

IF 0.2 3区艺术学

THEATRE SURVEY Pub Date : 2024-03-18 DOI: 10.1017/s0040557424000012

Melissa Lin Sturges

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引用次数: 0

Yeats's Photographs and the World Theatre of Images 叶芝的摄影作品与世界影像剧场

IF 0.2 3区艺术学

THEATRE SURVEY Pub Date : 2024-03-18 DOI: 10.1017/s0040557423000303

Kevin Riordan

引用次数: 0

Performing Celebrity and Anna Renzi's Cross-Dressed Performance as Ergindo 表演名人与安娜-伦齐饰演的埃尔金多的异装表演

IF 0.2 3区艺术学

THEATRE SURVEY Pub Date : 2023-12-21 DOI: 10.1017/s004055742300025x

Claudia Rene Wier

引用次数: 0

Rescuing Richard Cœur de Lion: Rivalry, Rehearsal, and Performance at Sheridan's Drury Lane 营救理查德-狮心》：谢里丹的德鲁里巷剧院里的竞争、排练和表演

IF 0.2 3区艺术学

THEATRE SURVEY Pub Date : 2023-12-21 DOI: 10.1017/s0040557423000248

Robert W. Jones

{"title":"Rescuing Richard Cœur de Lion: Rivalry, Rehearsal, and Performance at Sheridan's Drury Lane","authors":"Robert W. Jones","doi":"10.1017/s0040557423000248","DOIUrl":"https://doi.org/10.1017/s0040557423000248","url":null,"abstract":"Utopia might always prove impossible. But it should not be entirely abandoned as a concept, or as a goal toward which work might be directed. It is hard to see how meaningful change could arise without at least some sense of utopian possibility. The architectural historian Nathaniel Coleman argues in this vein that simply “making-do with reality may be compensatory, but limits possibility, transforming apparent pragmatic agency into its capture by enclosing realism.”1 Dealing with reality—often enough by making do—while keeping an eye on more magical possibilities has sometimes appeared, and has certainly been claimed, as the founding experience of making theatre. Theatres have seemed unique places where much might happen. If they are indeed special places, able to achieve special things, then they are not simply ebullient, but like Foucault's “heterotopias” able to combine dissident elements at the margins. Even when viewed at considerable historical distance, theatrical companies can appear truculent, wayward, and unsettling, even when they remain exploitative, manipulative, hierarchical—as many utopias are.2 Inequities and exclusions based on race, sexuality, gender, and class are not absent from theatrical life. Coleman's point, however, is really to argue that that it ought to be possible to imagine sites and patterns of work that are not already foreclosed by the demands of the market, the law, or other forms of curtailment. It should be equally possible to imagine people coming together, bringing their skills, and working out how they might be combined. Reality and its utopian antithesis might then valuably contradict and coalesce. The combination is never easy. Imperatives, financial and otherwise, loomed large over theatres in Georgian England, as they do today. But improvisation and collective effort could both respond to and yet resist such downward pressures, to make something that is at least potentially dissident, as much a way of working as the work produced.","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"34 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138823165","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

Performing Midsommar: Sweden Nationalism, Folkloric Pageantry, and the Political Power of Symbolic Divergence 表演仲夏节：瑞典民族主义、民俗庆典和象征性分歧的政治力量

IF 0.2 3区艺术学

THEATRE SURVEY Pub Date : 2023-12-21 DOI: 10.1017/s0040557423000169

Sean F. Edgecomb

引用次数: 0

Theorizing Performance Archives through the Critic's Labor 通过评论家的劳动将表演档案理论化

IF 0.2 3区艺术学

THEATRE SURVEY Pub Date : 2023-12-21 DOI: 10.1017/s0040557423000261

Eric Mayer-García

引用次数: 0

Unfixable Forms: Disability, Performance, and the Early Modern English Theater By Katherine Schaap Williams Ithaca and London: Cornell University Press, 2021; pp. xiii + 309. $59.95 cloth, $38.99 e-book. 《不可改变的形式:残疾、表演和早期现代英国戏剧》，凯瑟琳·沙普·威廉姆斯著，伊萨卡和伦敦:康奈尔大学出版社，2021年;页13 + 309。布料59.95美元，电子书38.99美元。