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Decolonizing Curriculum: Teaching the Twenty-First-Century Dramatic Canon 非殖民化课程:21世纪戏剧经典教学
IF 0.3 2区 艺术学
MODERN DRAMA Pub Date : 2023-06-01 DOI: 10.3138/md-66-2-1280
Yana Meerzon
{"title":"Decolonizing Curriculum: Teaching the Twenty-First-Century Dramatic Canon","authors":"Yana Meerzon","doi":"10.3138/md-66-2-1280","DOIUrl":"https://doi.org/10.3138/md-66-2-1280","url":null,"abstract":"abstract:I have been teaching undergraduate and graduate courses in play-analysis, developmental dramaturgy, adaptation and new play creation for almost two decades. Trained within structural and semiotic approaches to text and performance analysis with emergence of what David Barnett calls \"postdramatic theatre texts\" (2008:14) and recent calls for decolonizing curriculum, I found myself at a philosophical and theoretical crossroads. This article summarizes my teaching practice and philosophy as inflected through decolonial methods. It argues for our need to teach students to simultaneously position every dramatic text within the critical lens of structural play-analysis and their historical/cultural contextualization or dramaturgical concretization (Vodička 1975). The twenty-first century dramatic texts I teach are often located within the postdramatic European theatre and performance canon (Lehmann 2006), as well as within postcolonial and Indigenous traditions of storytelling. The three plays I chose as my case studies—Arabian Night (2003) by German playwright Roland Schimmelpfennig, Bintou (2002) by Koffi Kwahulé, a Côte d'Ivoire writer living in France, and Burning Vision (2003) by Marie Clements, a Canadian Metis theatre artist—constitute the core of my syllabus for a graduate course in dramaturgy.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"66 1","pages":"256 - 276"},"PeriodicalIF":0.3,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45695960","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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
Matthew Sturgis. Oscar Wilde: A Life Matthew Sturgis。奥斯卡·王尔德：一生
IF 0.3 2区 艺术学
MODERN DRAMA Pub Date : 2023-06-01 DOI: 10.3138/md-66-2-rev8
K. Powell
{"title":"Matthew Sturgis. Oscar Wilde: A Life","authors":"K. Powell","doi":"10.3138/md-66-2-rev8","DOIUrl":"https://doi.org/10.3138/md-66-2-rev8","url":null,"abstract":"Matthew Sturgis’s biography of Wilde challenges the pre-eminence of Richard Ellmann’s life study, correcting many of its errors, adding much that is new, and organizing Wilde’s life around factual events rather than works. Despite the book’s great merits, Sturgis’s categorical distinction between “historical” and “literary” biography may trouble some readers.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49289062","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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
"A Terrible Art of Sharp-Shooting at the Audience": Teaching the Shock of Modernist Drama via the Play of Ideas “对观众锐利射击的可怕艺术”:从观念的发挥看现代主义戏剧的冲击
IF 0.3 2区 艺术学
MODERN DRAMA Pub Date : 2023-06-01 DOI: 10.3138/md-66-2-1279
Christopher Grobe
{"title":"\"A Terrible Art of Sharp-Shooting at the Audience\": Teaching the Shock of Modernist Drama via the Play of Ideas","authors":"Christopher Grobe","doi":"10.3138/md-66-2-1279","DOIUrl":"https://doi.org/10.3138/md-66-2-1279","url":null,"abstract":"abstract:One of the hardest things to convey to present-day readers of modernist drama is the power it had to shock turn-of-the-century audiences. Defining shock as a \"structure of feeling\" (Raymond Williams) that was pursued in especially teachable ways by the modernist \"play of ideas,\" this essay shares a set of pedagogical strategies for helping students to feel this shock while also reflecting on the political implications of an art committed to shock. Among these teaching strategies are two attempts to set this \"terrible art\" (G. B. Shaw) in new, revealing contexts: (1) comparing the modernist theater to non-theatrical practices that attach ideas to structures of feeling besides shock, and (2) pairing modernist plays that \"shock\" their audience in pursuit of a feminist politics with contemporary plays that \"destroy the audience\" (Young Jean Lee) in pursuit of an anti-racist politics. The result is not to lionize shock as a universal ideal, but to explore it as a tactic—useful in some settings, harmful in others; always distributing its benefits and its costs unevenly.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"66 1","pages":"158 - 178"},"PeriodicalIF":0.3,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44541364","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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
Transculturation, Reclamation, and Adaptation: Approaches to Teaching Father Comes Home from the Wars 跨文化、开垦与适应:《父亲从战争中归来》的教学方法
IF 0.3 2区 艺术学
MODERN DRAMA Pub Date : 2023-06-01 DOI: 10.3138/md-66-2-1183
L. L. Forsgren
{"title":"Transculturation, Reclamation, and Adaptation: Approaches to Teaching Father Comes Home from the Wars","authors":"L. L. Forsgren","doi":"10.3138/md-66-2-1183","DOIUrl":"https://doi.org/10.3138/md-66-2-1183","url":null,"abstract":"abstract:Heralded as one of the most important voices in US theatre, the Pulitzer Prize-winning playwright Suzan-Lori Parks has made profound contributions to the creation of black art. Since her arrival on the theatre scene in the 1980s, Parks has challenged audiences to consider the importance of representation and unearth silences within history. Her more recent Pulitzer Prize finalist work, Father Comes Home from the Wars Parts 1, 2 & 3 (2014), continues this exploration, privileging the epic tale of an enslaved black man turned Confederate soldier in search of freedom. As an amalgamation of Parks's personal family history; the broader narrative of the black freedom struggle; and canonical epic tales such as Homer's Odyssey, Aeschylus's Oresteia, James Joyce's Ulysses, and Vyasa's Mahabharata, Father Comes Home… presents pedagogical challenges for instructors who must engage with ancient and modern texts and contemporary black political thought and performance traditions. Rather than replicate austere teaching practices of the past, I use the pedagogical theories of bell hooks to issue a call to foster curiosity and radical transparency as instructors guide students to a better understanding of how Father Comes Home transculturates (or reclaims) Greek mythology and tragedy within the African diaspora. In so doing, I demonstrate how Father Comes Home serves as a reckoning of the generational trauma caused by chattel slavery, summoning us all to confront racist and sexist practices that systematically disenfranchise black Americans and prevent the wider dissemination of black history and culture.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"66 1","pages":"179 - 202"},"PeriodicalIF":0.3,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46831110","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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
Olga Taxidou. Greek Tragedy and Modernist Performance: Hellenism as Theatricality 奥尔加Taxidou。希腊悲剧与现代主义表演:作为戏剧的希腊主义
IF 0.3 2区 艺术学
MODERN DRAMA Pub Date : 2023-03-01 DOI: 10.3138/md-66-1-rev7
G. Di Martino
{"title":"Olga Taxidou. Greek Tragedy and Modernist Performance: Hellenism as Theatricality","authors":"G. Di Martino","doi":"10.3138/md-66-1-rev7","DOIUrl":"https://doi.org/10.3138/md-66-1-rev7","url":null,"abstract":"Greek Tragedy and Modernist Performance charts the importance of performance to late nineteenth- and twentieth-century modernist experiments while also demonstrating the centrality of Greek tragedy to such experiments. For these artists, Greek theatre, and Greek tragedy in particular, represents the ideal model and form with which to critique the past and renew the future.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43123151","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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
Shattering Normalcy: Disability and Queerness in Tennessee Williams’s One Arm 破碎的常态：田纳西·威廉姆斯单臂中的残疾与酷儿
IF 0.3 2区 艺术学
MODERN DRAMA Pub Date : 2023-03-01 DOI: 10.3138/md-66-1-1251
Duygu Beste Başer Özcan
{"title":"Shattering Normalcy: Disability and Queerness in Tennessee Williams’s One Arm","authors":"Duygu Beste Başer Özcan","doi":"10.3138/md-66-1-1251","DOIUrl":"https://doi.org/10.3138/md-66-1-1251","url":null,"abstract":"abstract:In addition to his extensive body of dramatic work, Tennessee Williams also wrote several screenplays that are inseparable from his oeuvre in terms of both content and form. His plays and screenplays–which Williams himself referred to as “film plays,” indicating their hybridity–are sites where the playwright explores aesthetic possibilities that blur the line between stage and screen. Exploring similar themes, such as the oppression and suffering of women, disabled people, and queer individuals, Williams’s film plays also demonstrate his desire for new aesthetic formulations. This article analyses Tennessee Williams’s unfilmed film play One Arm (published in 1984) as a major but neglected moment in his dramatic exploration of disability and the non-normative body. As in his other writing, Williams shows in One Arm that heteronormative and ableist norms can push individuals to the edges of society by stigmatizing and pathologizing their identities. By depicting their social and cultural transgressions, Williams celebrates allegedly excessive and deviant behaviour as well as “abnormal” bodies. The article further argues that in One Arm, Williams calls attention to the importance of creating a sense of community among disabled and queer subjects for a livable crip/queer future, and he calls for allyship among these communities to overcome oppression.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"66 1","pages":"48 - 70"},"PeriodicalIF":0.3,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43374456","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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: 1
Julia A. Walker. Performance and Modernity: Enacting Change on the Globalizing Stage 朱莉娅·a·沃克。表演与现代性:全球化舞台上的变革
IF 0.3 2区 艺术学
MODERN DRAMA Pub Date : 2023-03-01 DOI: 10.3138/md-66-1-rev8
C. Warden
{"title":"Julia A. Walker. Performance and Modernity: Enacting Change on the Globalizing Stage","authors":"C. Warden","doi":"10.3138/md-66-1-rev8","DOIUrl":"https://doi.org/10.3138/md-66-1-rev8","url":null,"abstract":"Greek Tragedy and Modernist Performance charts the importance of performance to late nineteenth- and twentieth-century modernist experiments while also demonstrating the centrality of Greek tragedy to such experiments. For these artists, Greek theatre, and Greek tragedy in particular, represents the ideal model and form with which to critique the past and renew the future.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46682418","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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
Penny Farfan and Lesley Ferris, eds. Critical Perspectives on Contemporary Plays by Women: The Early Twenty-First Century. Penny Farfan和Lesley Ferris主编，《当代女性戏剧的批判视角：二十一世纪初》。
IF 0.3 2区 艺术学
MODERN DRAMA Pub Date : 2023-03-01 DOI: 10.3138/md-66-1-rev2
Hannah Greenstreet
{"title":"Penny Farfan and Lesley Ferris, eds. Critical Perspectives on Contemporary Plays by Women: The Early Twenty-First Century.","authors":"Hannah Greenstreet","doi":"10.3138/md-66-1-rev2","DOIUrl":"https://doi.org/10.3138/md-66-1-rev2","url":null,"abstract":"This edited collection presents twenty-eight critical essays on plays by contemporary women playwrights from around the world, providing a vital resource for students and theatre professionals. The book as whole highlights plays that are engaged and intervening in the contemporary political moment, from #BlackLivesMatter to the climate crisis.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47705108","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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
Bess Rowen. The Lines Between the Lines: How Stage Directions Affect Embodiment 贝丝·罗文。线与线之间的线：舞台方向如何影响体现
IF 0.3 2区 艺术学
MODERN DRAMA Pub Date : 2023-03-01 DOI: 10.3138/md-66-1-rev4
Kaitlyn Farrell Rodriguez
{"title":"Bess Rowen. The Lines Between the Lines: How Stage Directions Affect Embodiment","authors":"Kaitlyn Farrell Rodriguez","doi":"10.3138/md-66-1-rev4","DOIUrl":"https://doi.org/10.3138/md-66-1-rev4","url":null,"abstract":"The Lines Between the Lines presents stage directions as tools for centring historically marginalized voices; argues for a relationship between stage directions and emotional responses; and highlights the creative potential of affective stage directions, which allow production teams and readers to imagine new possibilities still substantiated by the source play.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41654294","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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: 1
Martin Revermann. Brecht and Tragedy: Radicalism, Traditionalism, Eristics Martin Revermann。布莱希特与悲剧：激进主义、传统主义、经验主义
IF 0.3 2区 艺术学
MODERN DRAMA Pub Date : 2023-03-01 DOI: 10.3138/md-66-1-rev6
E. Turley
{"title":"Martin Revermann. Brecht and Tragedy: Radicalism, Traditionalism, Eristics","authors":"E. Turley","doi":"10.3138/md-66-1-rev6","DOIUrl":"https://doi.org/10.3138/md-66-1-rev6","url":null,"abstract":"Brecht and Tragedy gives a genealogical account of Brecht’s engagement with tragedy and uses tragedy as a lens to analyse several Brechtian works and ideas. Exhaustively researched, it is valuable both for its detailed work on Brecht and tragedy and its analysis of Brecht’s theatre more broadly.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43162015","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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
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