THEATRE SURVEY最新文献_第6页

TSY volume 64 issue 1 Cover and Front matter 《时代》第64卷第1期封面和封面

IF 0.2 3区艺术学

THEATRE SURVEY Pub Date : 2023-01-01 DOI: 10.1017/s0040557422000503

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The People and Places of Experimental Theatre Scholarship: A Computational Overview 实验戏剧奖学金的人物和地点:计算概述

IF 0.2 3区艺术学

THEATRE SURVEY Pub Date : 2023-01-01 DOI: 10.1017/S0040557422000552

Miguel Escobar Varela

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TSY volume 64 issue 1 Cover and Back matter TSY第64卷第1期封面和封底

IF 0.2 3区艺术学

THEATRE SURVEY Pub Date : 2023-01-01 DOI: 10.1017/s0040557422000515

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Carrying All before Her: Celebrity Pregnancy and the London Stage, 1689–1800 By Chelsea Phillips. Newark, NJ: University of Delaware Press, 2022; pp. xiv + 287. $120.00 cloth, $34.95 paper, $38.95 e-book. 《在她之前承载一切：名人怀孕与伦敦舞台》，1689-1800，切尔西·菲利普斯著。新泽西州纽瓦克：特拉华大学出版社，2022；第xiv+287页$120.00块布，34.95美元纸，38.95美元电子书。

IF 0.2 3区艺术学

THEATRE SURVEY Pub Date : 2022-12-22 DOI: 10.1017/s0040557422000369

Kristina Straub

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Mussolini's Theatre: Fascist Experiments in Art and Politics By Patricia Gaborik. Cambridge: Cambridge University Press, 2021; pp. xiii + 312, 20 illustrations, 13 tables. $39.99 cloth, $32 e-book. 《墨索里尼的戏剧：艺术和政治中的法西斯实验》，帕特里夏·加博里克著。剑桥：剑桥大学出版社，2021；第xiii+312页，20幅插图，13张表格$39.99块布，32美元的电子书。

IF 0.2 3区艺术学

THEATRE SURVEY Pub Date : 2022-12-21 DOI: 10.1017/s0040557422000412

Ryan Helterbrand

{"title":"Mussolini's Theatre: Fascist Experiments in Art and Politics By Patricia Gaborik. Cambridge: Cambridge University Press, 2021; pp. xiii + 312, 20 illustrations, 13 tables. $39.99 cloth, $32 e-book.","authors":"Ryan Helterbrand","doi":"10.1017/s0040557422000412","DOIUrl":"https://doi.org/10.1017/s0040557422000412","url":null,"abstract":"With the dramatic global resurgence of far-Right politics, it behooves critics to come to terms with the legacies of Fascism and its relationship to cultural production. How did Mussolini attempt to guide or co-opt theatre for his own purposes? Many scholars have followed Walter Benjamin in arguing that Fascism aestheticized politics, that Mussolini himself used the actor’s art to become a character in his own political play, that ultimately “the fascist mode was inherently performative, irrational, and coercive” (7). But, as Patricia Gaborik argues in her carefully argued and impressively documented Mussolini’s Theatre: Fascist Experiments in Art and Politics, this focus on Fascism as an aestheticized political experiment neglects the actual situation of the theatre under Mussolini, acting “as if what was produced on stage doesn’t actually matter—as if, that is, when it comes to fascism, art is not an issue” (12). What if, instead of assuming that all theatrical productions under Mussolini were only—could only be—so many forms of propaganda, we look instead at what was actually produced during the ventennio? Gaborik shows that theatre under Mussolini was more complicated than we’ve imagined. Although some plays produced under Fascism toed the party line, most did not, nor were they punished for it. In fact, a kind of strategic aestheticism reigned: Mussolini consistently demonstrated a commitment to art “that went beyond the tactical” and elevated “spiritual valor over immediate propagandistic efficacy” (19). Why? Because, Gaborik argues, Mussolini approached the theatre in two complementary ways that highlighted his “faith in culture as a revolutionary tool” (45). First, he kept the theatre relatively free to demonstrate the alleged openness of his regime, to demonstrate that artists in Fascist Italy were free to follow their genius. Here he followed a strategy of diplomacy, recognizing that theatre","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"64 1","pages":"104 - 106"},"PeriodicalIF":0.2,"publicationDate":"2022-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42886897","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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Theatre across Oceans: Mediators of Transatlantic Exchange, 1890–1925 By Nic Leonhardt. Transnational Theatre Histories. Cham, Switzerland: Palgrave Macmillan, 2021; pp. xvi + 336, 19 illustrations. $149.99 cloth, $149.99 paper, $109 e-book. 横跨大洋的剧院:1890-1925年跨大西洋交流的调解人尼克·莱昂哈特著。跨国戏剧史。Cham，瑞士:Palgrave Macmillan, 2021;第xvi + 336页，19幅插图。布149.99美元，纸149.99美元，电子书109美元。

IF 0.2 3区艺术学

THEATRE SURVEY Pub Date : 2022-12-21 DOI: 10.1017/s0040557422000382

Sunny Stalter-Pace

引用次数: 0

Three Loves for Three Oranges: Gozzi, Meyerhold, Prokofiev Edited by Dassia N. Posner and Kevin Bartig with Maria De Simone. Russian Music Studies. Bloomington: Indiana University Press, 2021; pp. xxxi + 427, 61 illustrations. $50 cloth, $49.99 e-book. 《三个橙子的三种爱：戈齐、梅耶尔霍尔德、普罗科菲耶夫》，Dassia N.Posner编辑，Kevin Bartig与Maria De Simone合作。俄罗斯音乐研究。布卢明顿：印第安纳大学出版社，2021；xxxi+427页，61幅插图$50块布，49.99美元的电子书。

IF 0.2 3区艺术学

THEATRE SURVEY Pub Date : 2022-12-21 DOI: 10.1017/s0040557422000370

Olga S. Partan

{"title":"Three Loves for Three Oranges: Gozzi, Meyerhold, Prokofiev Edited by Dassia N. Posner and Kevin Bartig with Maria De Simone. Russian Music Studies. Bloomington: Indiana University Press, 2021; pp. xxxi + 427, 61 illustrations. $50 cloth, $49.99 e-book.","authors":"Olga S. Partan","doi":"10.1017/s0040557422000370","DOIUrl":"https://doi.org/10.1017/s0040557422000370","url":null,"abstract":"actresses Phillips examines in previous chapters. A short Conclusion follows up with productive comparisons between past and present celebrity pregnancies. Phillips gives us more than the usual “learn from the past” history-teacher didactics, however; she reinforces the importance of taking seriously celebrity as a cultural indicator of what matters then and now. She also gives us a methodology for reading archival evidence of past celebrity performances alongside the ephemeral performances and archival data of the present. Anchoring our readings of both archive and performance in the functions and needs of the human body, Phillips claims that“[t]he essential needs of the reproducing body— space, access, rest—have not changed, and embodied experience today can inform our sense of its history” (216). This is not to say that Phillips essentializes the reproductive female body; rather, she reads it as a part of the complex workings we call culture. Phillips reveals an eighteenth-century theatre industry that assumed their female stars would be pregnant at times during their careers and adjusted to that fact, offering women paid time off, shorter hours, and generally what we might today call accommodations. These conditions make the present working conditions of women in theatre, as Phillips summarizes them, look pretty lousy. The body— including that troublesome body part, the uterus—is integral to what Tschida calls the “life or well-being” of women, not just as childbearers, but as workers. This book makes it clear that how we attend to the body and its needs is not just a matter of individual well-being. It is also integral to the health of the body politic.","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"64 1","pages":"95 - 97"},"PeriodicalIF":0.2,"publicationDate":"2022-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46845472","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

Staging Lives in Latin American Theater: Bodies, Objects, Archives By Paola S. Hernández. Evanston, IL: Northwestern University Press, 2022; pp. viii + 219, 13 illustrations. $99.95 cloth, $34.95 paper, $34.95 e-book. 拉丁美洲戏剧中的舞台生活:身体，物体，档案，作者:Paola S. Hernández。埃文斯顿，伊利诺伊州:西北大学出版社，2022;第viii + 219页，13个插图。布99.95美元，纸34.95美元，电子书34.95美元。

IF 0.2 3区艺术学

THEATRE SURVEY Pub Date : 2022-12-21 DOI: 10.1017/s0040557422000400

Noe Montez

{"title":"Staging Lives in Latin American Theater: Bodies, Objects, Archives By Paola S. Hernández. Evanston, IL: Northwestern University Press, 2022; pp. viii + 219, 13 illustrations. $99.95 cloth, $34.95 paper, $34.95 e-book.","authors":"Noe Montez","doi":"10.1017/s0040557422000400","DOIUrl":"https://doi.org/10.1017/s0040557422000400","url":null,"abstract":"Many contemporary Latin American theatre artists are drawing from documentary theatre traditions to make the effects of neoliberal economic policies, uneasy transitions from dictatorship, and other structural inequities legible to domestic and international audiences. Paola S. Hernández creates a compelling snapshot of this moment in her thoroughly researched book, Staging Lives in Latin American Theater: Bodies, Objects, Archives. Hernández centers her monograph around the practices of four of Latin America’s most notable and studied artists (Vivi Tellas, Lola Arias, El Teatro Línea de Sombra, and Guillermo Calderón) in order to consider the ways that they use “the affective hold of the real” to “transform private and public memories, modes of participation, and the kinds of truth claims theater can make” (2). Each of the artists featured use biographical narratives and archival materials to explore how the use of material objects and personal narratives can complicate an understanding of the past. Hernández situates herself as part of academic lineages that are attentive to Latin American theatre of the twenty-first century, memory studies, and the emergence of innovative documentary practices in theatres across the globe. The book nicely threads the needle between focusing on the local political and cultural contexts in which the artists make their work and the ways the performances are received when presented internationally. Moreover, Hernández has a keen eye for the details of production, describing the performances and the artists’ interactions with material objects onstage in a way that brings readers, who may not have seen these works staged, into a deeper understanding of those performances. The book begins with an analysis of playwright, director, and producer Vivi Tellas’s biodramas, particularly her Proyecto Archivos, which highlights Tellas’s","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"64 1","pages":"102 - 104"},"PeriodicalIF":0.2,"publicationDate":"2022-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47956109","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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Feeling the Future at Christian End-Time Performances By Jill Stevenson. Ann Arbor: University of Michigan Press, 2022; pp. xii + 230, 7 illustrations. $75 cloth, $59.95 e-book. 吉尔·史蒂文森在基督教末世表演中感受未来。安娜堡:密歇根大学出版社，2022;Pp. xii + 230,7插图。布料75美元，电子书59.95美元。

IF 0.2 3区艺术学

THEATRE SURVEY Pub Date : 2022-12-21 DOI: 10.1017/S0040557422000436

Joseph R. D’Ambrosi

引用次数: 0

Performing Power: The Political Secrets of Gustav III (1771–1792) By Maria Berlova. Edited by Michael Kroetch. Abingdon: Routledge, 2021; pp. viii + 242. $136 cloth, $48.95 e-book. 《表演权力:古斯塔夫三世(1771-1792)的政治秘密》，作者:玛丽亚·伯洛娃。编辑:Michael Kroetch。阿宾登:劳特利奇出版社，2021;第8页+ 242页。布料136美元，电子书48.95美元。

IF 0.2 3区艺术学

THEATRE SURVEY Pub Date : 2022-12-20 DOI: 10.1017/S0040557422000424

Karin Hallgren

{"title":"Performing Power: The Political Secrets of Gustav III (1771–1792) By Maria Berlova. Edited by Michael Kroetch. Abingdon: Routledge, 2021; pp. viii + 242. $136 cloth, $48.95 e-book.","authors":"Karin Hallgren","doi":"10.1017/S0040557422000424","DOIUrl":"https://doi.org/10.1017/S0040557422000424","url":null,"abstract":"at the time had some sort of censorship office—the difference here was “not in the matter but in the means” (156). Zurlo had to navigate not only the needs of the state but also Mussolini’s taste, which meant that censorship under Fascism was never as straightforward as it might seem from the outside. In a relatively liberal theatre-making environment, in which ideologically diverse plays were staged by myriad companies with divergent politics, only 9.4 percent of theatrical texts submitted to Zurlo were ultimately rejected. The picture that emerges is one of a censorship office engaged in a “relations-management task that went far beyond . . . ensuring orthodoxy in production” (162). While I would be curious about Mussolini’s attitude toward the historical avantgardes of futurism, dada, or surrealism—which all produced significant theatrical works during this period—I have nothing but praise for Gaborik’s work. It is carefully argued, engagingly written, exceptionally well documented, and full of surprising reversals of accepted wisdom. In letting the facts breathe and the history unfold before our eyes, Gaborik has produced an important work that will interest theatre scholars, art historians, and anyone curious about understanding not only how the interface between Fascism and art works, but also, perhaps, how to meet Fascism on this terrain in order to combat it.","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"64 1","pages":"106 - 108"},"PeriodicalIF":0.2,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48383204","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