MODERN DRAMA最新文献_第6页

Nic Leonhardt. Theatre Across Oceans: Mediators of Transatlantic Exchange (1890–1925). Nic莱昂纳特。跨洋戏剧:跨大西洋交流的调解人(1890-1925)。

IF 0.3 2区艺术学

MODERN DRAMA Pub Date : 2023-03-01 DOI: 10.3138/md-66-1-rev3

K. Flaherty

引用次数: 0

Revisiting HIV/AIDS Theatre: Black and Queer Spatio-Temporalities in Cheryl L. West’s Before It Hits Home 重新审视艾滋病戏剧:谢丽尔·l·韦斯特的《在它到家之前》中的黑人和酷儿时空

IF 0.3 2区艺术学

MODERN DRAMA Pub Date : 2023-03-01 DOI: 10.3138/md-66-1-1171

Çağdaş Duman

引用次数: 0

Elizabeth Brewer Redwine. Gender, Performance, and Authorship at the Abbey Theatre 伊丽莎白·布鲁尔红葡萄酒。Abbey剧院的性别、表演和作家身份

IF 0.3 2区艺术学

MODERN DRAMA Pub Date : 2023-03-01 DOI: 10.3138/md-66-1-rev5

Paige Reynolds

引用次数: 0

Onnagata, Grotesque Beauty, and Aging: Reading Tennessee Williams’s Kabuki-Inspired Plays Onnagata，怪诞的美与衰老：阅读田纳西·威廉姆斯的歌舞伎戏剧

IF 0.3 2区艺术学

MODERN DRAMA Pub Date : 2023-03-01 DOI: 10.3138/md-66-1-1168

Takashi Sakai

{"title":"Onnagata, Grotesque Beauty, and Aging: Reading Tennessee Williams’s Kabuki-Inspired Plays","authors":"Takashi Sakai","doi":"10.3138/md-66-1-1168","DOIUrl":"https://doi.org/10.3138/md-66-1-1168","url":null,"abstract":"abstract:This article examines Tennessee Williams’s kabuki-inspired plays, which were written after his first trip to Japan in 1959. I focus on And Tell Sad Stories of the Deaths of Queens… (1957–70), which Williams began writing in 1957 but completed after his trip to Japan, and the 1964 version of The Milk Train Doesn’t Stop Here Anymore, a play that Williams rewrote several times from 1962 to 1964. In so doing, I demonstrate how Williams used and modified kabuki traditions under the guidance of his Japanese friend, the acclaimed novelist and playwright Yukio Mishima. In And Tell Sad Stories of the Deaths of Queens… the art of acting by the onnagata (male actors who play female roles in kabuki), especially those who live as “women” even off stage, underlies the male protagonist’s exploration of transgender identity as well as his female gender presentation. In The Milk Train Doesn’t Stop Here Anymore, Williams seeks to transform the perceived grotesqueries of aging into allure by using kabuki’s aesthetic principles of “grotesque beauty” and “necrophilic” nostalgia, which had also been expressed in Hollywood films featuring older movie actresses. He deliberately wrote the role of the female protagonist for Tallulah Bankhead, who starred in the 1964 production, with the intention of celebrating her aging body through kabuki aesthetics.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"66 1","pages":"26 - 47"},"PeriodicalIF":0.3,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44319058","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

Joseph Cermatori. Baroque Modernity: An Aesthetics of Theater 约瑟夫Cermatori。巴洛克现代性:一种戏剧美学

IF 0.3 2区艺术学

MODERN DRAMA Pub Date : 2023-03-01 DOI: 10.3138/md-66-1-rev1

Nick Salvato

引用次数: 0

Outstanding Article Award for 2022 2022年优秀文章奖

2区艺术学

MODERN DRAMA Pub Date : 2023-03-01 DOI: 10.3138/md.66.1.n

引用次数: 0

The Kindness of Strangers: Eugenics and Tennessee Williams’s A Streetcar Named Desire 陌生人的善良:优生学和田纳西·威廉姆斯的《欲望号街车》

IF 0.3 2区艺术学

MODERN DRAMA Pub Date : 2023-03-01 DOI: 10.3138/md-66-1-1249

Kaitlyn Farrell Rodriguez

引用次数: 0

Brandon Woolf, Institutional Theatrics: Performing Arts Policy in Post-Wall Berlin 布兰登·伍尔夫:《机构戏剧:后柏林墙时期柏林的表演艺术政策》

IF 0.3 2区艺术学

MODERN DRAMA Pub Date : 2022-12-01 DOI: 10.3138/md-65-4-br8

Olivia Landry

引用次数: 0

The Afterlives of Enslavement: Histories of Racial Injustice in Contemporary Black British Theatre 奴役的后遗症：当代英国黑人戏剧中的种族不公正史

IF 0.3 2区艺术学

MODERN DRAMA Pub Date : 2022-12-01 DOI: 10.3138/md-65-4-1239

Clare Finburgh Delijani

{"title":"The Afterlives of Enslavement: Histories of Racial Injustice in Contemporary Black British Theatre","authors":"Clare Finburgh Delijani","doi":"10.3138/md-65-4-1239","DOIUrl":"https://doi.org/10.3138/md-65-4-1239","url":null,"abstract":"Over the past five years, a number of Black British women authors have written what might be called postcolonial ghost plays. This article focuses, to varying degrees, on four: ear for eye (2018), debbie tucker green’s dissection of enslavement and its afterlives; Rockets and Blue Lights (2020), Winsome Pinnock’s historical film-within-a-play about the Middle Passage; The Gift (2020), Janice Okoh’s semi-biography of an African girl who became Queen Victoria’s ward; and Selina Thompson’s salt. (2018), an autobiographical performance piece tracing her ancestors’ enslavement. Ghosts and haunting, which I examine from multiple perspectives, appear across this range of theatrical genres. With their multiple, doubled, spectral, interpenetrating stories, tucker green, Pinnock, Okoh, and Thompson’s postcolonial ghost plays reactivate the past of enslavement that has not passed, that is still active in the form of racial and social injustices today. Ghosts, prevalent across the plays, represent the dead who, plumbing the depths of the Middle Passage, are denied a resting place. The ghost, the figure of the living dead par excellence, reflects the dehumanization of trafficked Africans, from whom their enslavers sought to subtract all subjectivity. Ghosts, too, reveal the work of mourning performed by the living for those who were never properly buried. This mourning exposes and disrupts enduring structures of injustice, and searches for reparation. Ghosts, or revenants, returning and refusing to rest, represent the resilient resistance to injustice. Finally, ghosts, neither fully past nor present, absent or present, symbolize indeterminacy and instability, illustrated in the plays by subjects determined to take control of their own identities and destinies. Together, these plays demonstrate how we must look back to the roots of historical racism in order to look forward to its eradication.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45138932","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

S.E. Jackson, The Problem of the Actress in Modern German Theatre and Thought S.E.杰克逊:《现代德国戏剧中的女演员问题与思想》

IF 0.3 2区艺术学

MODERN DRAMA Pub Date : 2022-12-01 DOI: 10.3138/md-65-4-br4

G. Pailer

引用次数: 0