THEATRE SURVEY最新文献

{"title":"Playing the Police with the Agitprop Troupes of Weimar Germany","authors":"Jessi Piggott","doi":"10.1017/S0040557423000157","DOIUrl":"https://doi.org/10.1017/S0040557423000157","url":null,"abstract":"Germany's amateur agitprop theatre movement produced some of the most popular, pervasive, and politically contentious art in the Weimar Republic, not least because of the way performers inserted themselves into the fabric of working-class life with the unequivocal intention of politicizing audiences. Germany's first agitprop troupes formed within youth clubs affiliated with the Communist Party (KPD) around 1925, but the movement quickly grew beyond established club culture, with troupes sprouting up “like mushrooms,” as one critic of the period put it. By 1929 police estimated there were about two hundred self-proclaimed agitprop troupes spread across Germany, all pursuing a transparently aggressive political agenda: to turn the theatre into a site of revolutionary class struggle. If the Weimar period saw an unprecedented mixing of art and politics, agitprop took this tendency to the extreme by declaring theatre to be a weapon in the hands of the proletariat. As the slogan of the 1931 International Meeting of Agitprop Troupes in Cologne put it: “Workers’ theatre is class struggle.”","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"64 1","pages":"198 - 221"},"PeriodicalIF":0.2,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45027655","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":"TSY volume 64 issue 2 Cover and Front matter","authors":"Donna L. Forsgren, T. D. Arendell, Chrystyna M. Dail","doi":"10.1017/s0040557423000091","DOIUrl":"https://doi.org/10.1017/s0040557423000091","url":null,"abstract":"","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"64 1","pages":"f1 - f6"},"PeriodicalIF":0.2,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46688048","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":"Postdramatic Dramaturgies: Resonances between Asia and Europe Edited by Kai Tuchmann. Theater. Bielefeld: transcript Verlag, 2022; pp. xii + 294, 12 illustrations. $45.00 cloth, free e-book.","authors":"Ruijiao Dong","doi":"10.1017/S0040557423000042","DOIUrl":"https://doi.org/10.1017/S0040557423000042","url":null,"abstract":"","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"64 1","pages":"234 - 236"},"PeriodicalIF":0.2,"publicationDate":"2023-04-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42752587","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":"Speculative Enterprise: Public Theaters and Financial Markets in London, 1688–1763 By Mattie Burkert. Charlottesville and London: University of Virginia Press, 2021; pp. ix + 284, 7 illustrations. $95.00 cloth, $39.50 paper, $29.50 e-book.","authors":"Stephen Watkins","doi":"10.1017/S0040557423000078","DOIUrl":"https://doi.org/10.1017/S0040557423000078","url":null,"abstract":"and Arabophobia in the current nativist political climate, Najjar designates persecution plays in Chapter 3 as works that explore these issues in relation to governmental and societal persecutions. Back of the Throat (2005) by the playwright Yussef El Guindi is one such play produced in the post-9/11 era. In Chapter 4, Najjar specifies that diaspora plays, “[l]ike the previous persecution plays . . . deal with many complicated issues, but they are more personal and less about the outside persecution they feel around them (though many have this aspect as well)” (95). From plays set in the homeland discussed in Chapter 5, which recreate and reimagine the lost country of origin and attend to troubles stemming from occupation and colonialism, to conflict plays analyzed in Chapter 6, filled with stories concerning refugee crises and civil wars, it is possible, as observed by Najjar, to notice a pattern gesturing toward the fact that Middle Eastern American theatre is living through a renaissance of sorts as more plays and companies turn their attention to Middle Eastern American communities. Through a shift of focus from the works of playwrights to the critical perspectives of influential directors in an interview format, Najjar concludes his book with a constructive dialogue shaped around the development of artistic creation and pivotal issues faced by the Middle Eastern theatre. Via its astute intervention in the aesthetic discourse of Middle Eastern communities in the Americas, Najjar’s text felicitously enriches the burgeoning scholarship of Middle Eastern American theatre.","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"64 1","pages":"240 - 242"},"PeriodicalIF":0.2,"publicationDate":"2023-04-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49087033","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":"Performance and Modernity: Enacting Change on the Globalizing Stage By Julia A. Walker. Cambridge: Cambridge University Press, 2021; pp. xiii + 299, 20 illustrations. $99.99 cloth, $99.99 e-book.","authors":"Darren Gobert","doi":"10.1017/S0040557423000030","DOIUrl":"https://doi.org/10.1017/S0040557423000030","url":null,"abstract":"evolution from stage to screen. Multiple factors, including photorealism, black-and-white films’ inability to present skin color accurately, and the emphasis on technology in film makeup, led to the obsession with the epicanthic fold, also known as the “Oriental eye,” and the subsequent invention of “prosthetic yellowface” (150–2). Regardless of technological innovations, screen yellowface remained at its core a manifestation of nineteenth-century scientific racism: whereas non–Anglo-Saxon European makeup became white makeup, Asian makeup was relegated to special effects on par with those of deformed or nonhuman characters, which reflected the contemporary ideology of “yellow peril” (154). After unpacking yellowface performances from Hollywood stars such as Lon Chaney, Boris Karloff, and Katharine Hepburn, Lee proceeds to make clear in the Epilogue that yellowface goes hand in hand with casting effectively to push out Asian American performers. Made-Up Asians is a long-awaited work that fills a lacuna in theatre and performance studies, film studies, and American Studies. I especially appreciate Lee’s generosity. In addition to meticulous research and compelling analysis, the book provides valuable pictorial evidence (twenty-three figures) and an appendix that documents yellowface instructions in makeup manuals to spark further research. Lee’s lucid writing style also makes her work accessible to general readers. Made-Up Asians is truly a rare accomplishment that needs to be read, referenced, and taught.","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"64 1","pages":"231 - 233"},"PeriodicalIF":0.2,"publicationDate":"2023-04-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49383495","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 Theatre of Nuclear Science: Weapons, Power, and the Scientists behind it All By Jeanne Tiehen. Routledge Advances in Theatre & Performance Studies. London: Routledge, 2021; pp. 166. $170.00 cloth, $39.71 e-book.","authors":"Hong-lin Yang","doi":"10.1017/S004055742300008X","DOIUrl":"https://doi.org/10.1017/S004055742300008X","url":null,"abstract":"for private interests at the expense of the public good. Part II comprises two chapters that investigate how the theatre–finance nexus responded to a financial crisis that has since come to define modern ideas of speculative enterprise: the South Sea Bubble (1720–2). Chapter 4 covers Richard Steele’s short-lived periodical The Theatre, which ran for three months in the wake of the bubble in 1720, as well as his play The Conscious Lovers (1722). In a fascinating excavation of Steele’s reflections on the bubble and its aftermath, Burkert shows how his work, like Centlivre’s, ultimately gives “voice to the concern that elites could use new market structures and dynamics to hijack what appeared to be middling-class sentiments” (123). The book concludes by returning to Cibber and a late comedy, The Refusal; or, The Ladies Philosophy (1721), to show how another writer with middling-class sympathies used his position within the theatre to “theoriz[e] the relationship between changing class structures, speculative investment, and public opinion” (156). Burkert ends with a brief coda that discusses the Half-Price Riots of the 1760s, showing how the theatre–finance nexus persisted into the second half of the century. Burkert’s thesis is highly compelling, and I cannot do justice here to the erudition and deftness of her argumentation and analysis. Through her careful contextualization of the plays and other works within the history of financial crises, she overturns long-held critical assumptions about, among other things, sentimental comedy and its relationship to the emergent middling class. This stimulating account shows how the early eighteenth-century theatre responded to the economic crises that so materially determined its own opportunities for success and failure. The book will prove an extremely valuable contribution to scholars working on the theatre history of the period, as well as on cultural representations of, and engagements with, finance and economics in the early eighteenth century.","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"64 1","pages":"242 - 244"},"PeriodicalIF":0.2,"publicationDate":"2023-04-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43250188","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 Kiss across the Ocean: Transatlantic Intimacies of British Post-Punk & US Latinidad By Richard T. Rodríguez. Durham, NC: Duke University Press, 2022; pp. xv + 264, 28 illustrations. $99.95 cloth, $25.95 paper, $25.95 e-book.","authors":"Caridad Svich","doi":"10.1017/S0040557423000054","DOIUrl":"https://doi.org/10.1017/S0040557423000054","url":null,"abstract":"","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"64 1","pages":"236 - 238"},"PeriodicalIF":0.2,"publicationDate":"2023-04-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43371724","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":"Disappearing Mermaids: Staging White Women's Mobility through Aquatic Performance at the New York Hippodrome","authors":"Sunny Stalter-Pace","doi":"10.1017/S0040557422000527","DOIUrl":"https://doi.org/10.1017/S0040557422000527","url":null,"abstract":"The New York Hippodrome theatre brought together many different types of performance on its massive stage. Its opening production in 1905, for instance, included circus acts, a ballet, and a fictionalized Civil War battle (Fig. 1). Many of the acts focused on a key feature in the theatrical environment, a water tank beneath the apron of the stage that could be filled to a fourteen-foot depth. High divers plunged into the tank; in shows with an “ice ballet,” its water was frozen into a skating rink; for a production of HMS Pinafore, a replica ship floated in its water with Brooklyn Navy Yard sailors in the rigging. Yet one tank act repeated and was recalled more than any of the others: a phalanx of women in martial costumes who marched solemnly, row after row, into the water and disappeared.","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"64 1","pages":"3 - 23"},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48400686","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":"Send in the Clowness: The Problematic Origins of Female Circus Clowns","authors":"M. McMahan, L. Senelick","doi":"10.1017/S0040557422000539","DOIUrl":"https://doi.org/10.1017/S0040557422000539","url":null,"abstract":"Historically, clowns have always been trained “on the job”: one was born or adopted into a circus dynasty or else ran away to join the circus, serving an apprenticeship. Breaking with the long tradition that performers learn on the job, after World War II, national circuses in the Communist bloc created their own academies; they were followed in 1974 by the École nationale de cirque founded in Paris by Annie Fratellini and Pierre Étaix, now the Académie Fratellini, and in 1982 by the Escola Nacional de Circo in Brazil. These examples led to the teaching of circus skills in universities, enabling breaches in the gender barriers between types of circus acts. For example, six years after Ringling Brothers founded a clown college in 1968, Peggy Williams was the first woman to graduate with a contract. At first she felt out of place. In an interview series for the Ringling Museum of Art, she stated that early in her training she had presumed that clowns were gender neutral: “I didn't know there weren't girl clowns. I thought being a clown was being a clown. You could be a man or woman. I had no idea what was heading my way because of gender.” Although she learned under the auspices of great clowns such as Lou Jacobs, she was left to her own devices to craft a clown that reflected her allegedly female nature.","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"64 1","pages":"24 - 48"},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44651460","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":"Reclamation","authors":"","doi":"10.1017/s0040557422000497","DOIUrl":"https://doi.org/10.1017/s0040557422000497","url":null,"abstract":"Mermaids. Clowns. Sign-mime. Experimental theatre. Although the authors within this issue explore a variety of topics within theatre history, each engages with the process of reclaiming the past. Collectively, they ask us to consider fundamental historiographical questions: Where are the gaps and silences within theatre history? Why do these glaring omissions exist and continue to persist? How might computational tools help reveal biases within theatre history scholarship? In answering these questions, the authors invite readers to consider how reclamation of the past can help us better understand our current conditions. In contrast to previous studies that focus on the relationship between femininity and visibility in women’s aquatic performances, Sunny Stalter-Pace’s “Disappearing Mermaids: Staging Women’s Mobility through Aquatic Performance at the New York Hippodrome” takes a deep dive into the Progressive Era—a period marked by political upheaval, technological innovation, and increased immigration and internal migration. Here, Stalter-Pace asks readers to reconsider how the political landscape impacted both aquatic women performers (the titular ‘disappearing mermaids’) and spectators of this important cultural institution of the late nineteenth and early twentieth century. In retracing the legacies of these performers, Stalter-Pace ultimately finds that, “the audience’s ambivalent fascination with the disappearing mermaids stood in for a broader cultural interest in and anxiety over modern [young] white women’s mobility.” In so doing, Stalter-Pace not only “reveal[s] the previously concealed” anxieties of white women’s growing social status of the past but also provides greater understanding of the contested terrain of Black girls’ twenty-first-century mermaid performances. Matthew McMahan and Laurence Senelick’s “Send in the Clowness: The Problematic Origins of Female Circus Clowns” utilizes a variety of sources—from advertisements, to interviews, to human-interest pieces in trade publications—to recover the history of early women clown performers of the late nineteenth to the late twentieth centuries. By unearthing the past, McMahan and Senelick reveal that, “until the latter half of the twentieth century, to be both a woman and a clown was a paradox, one that reveals a host of attitudes related to the very nature of the clown archetype within the circus.” Through detailed firsthand accounts, coupled with exhaustive archival research and a nuanced narrative voice, McMahan and Senelick introduce readers to a rich tradition of women circus clowns that has heretofore been a marginalized chapter within theatre history. In “The Race for Rehabilitation: Sign-Mime, the National Theatre of the Deaf, and Cold War Internationalism” Patrick McKelvey places the National Theatre of the Deaf’s (NTD) development of “sign-mime” and cultural exchange alongside Moscow’s Theatre of Mime and Gesture within the context of the “the cultural Cold War” and the “","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"64 1","pages":"1 - 2"},"PeriodicalIF":0.2,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47110681","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}