MODERN DRAMA最新文献_第7页

Staging Socrates: The Public Intellectual and Democracy in Maxwell Anderson's Barefoot in Athens 舞台苏格拉底:麦克斯韦·安德森《赤着脚在雅典》中的公共知识分子与民主

IF 0.3 2区艺术学

MODERN DRAMA Pub Date : 2022-12-01 DOI: 10.3138/md-65-4-1162

R. Farhadi

{"title":"Staging Socrates: The Public Intellectual and Democracy in Maxwell Anderson's Barefoot in Athens","authors":"R. Farhadi","doi":"10.3138/md-65-4-1162","DOIUrl":"https://doi.org/10.3138/md-65-4-1162","url":null,"abstract":"abstract:Though much lauded as a playwright in his day, Maxwell Anderson was also an outspoken dissident, fired from two teaching posts early in his career for his political views. , staged during the period of McCarthyism and the outbreak of the Korean War, investigates those political events and their impact on free speech, dramatizing the marginalization of the intellectual through parallels with the life and trial of Socrates of Athens in 399 BCE. I draw on critics including Julien Benda and Edward Said, as well as Martin's Puchner's discussion of the \"Socrates Play\" genre, to triangulate Anderson's vision of the public intellectual as a truth-seeker whose social commitments propel him to interrogate powerful authorities and expose non-democratic principles. In Barefoot, Anderson diagnoses the pathologies of contemporary American democracy through his depictions of the last weeks of Socrates' life, portraying the great thinker not as an aloof philosopher but as an engaged intellectual. In this way, Anderson leverages the long tradition of the \"Socrates Play\" to cast a light on the political forces that sought to sideline and silence public intellectuals during his own era while seeking new definitions of and roles for the public intellectual based on the evaluation of past models.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"65 1","pages":"571 - 592"},"PeriodicalIF":0.3,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48673071","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

Juliet Guzzetta, The Theater of Narration: From the Peripheries of History to the Main Stages of Italy 朱丽叶·古泽塔:《叙事剧场:从历史边缘到意大利主要舞台》

IF 0.3 2区艺术学

MODERN DRAMA Pub Date : 2022-12-01 DOI: 10.3138/md-65-4-br3

Enza De Francisci

引用次数: 0

Foregrounding (Lost) Rituals in the Irish and Harlem Renaissances: John Millington Synge, Zora Neale Hurston, and the Transatlantic Gesture 爱尔兰和哈莱姆文艺复兴中的前景(失落)仪式:约翰·米林顿·辛格，佐拉·尼尔·赫斯顿和跨大西洋姿态

IF 0.3 2区艺术学

MODERN DRAMA Pub Date : 2022-12-01 DOI: 10.3138/md-65-4-1128

Chanté Mouton Kinyon

{"title":"Foregrounding (Lost) Rituals in the Irish and Harlem Renaissances: John Millington Synge, Zora Neale Hurston, and the Transatlantic Gesture","authors":"Chanté Mouton Kinyon","doi":"10.3138/md-65-4-1128","DOIUrl":"https://doi.org/10.3138/md-65-4-1128","url":null,"abstract":"abstract:In the preface to The Book of American Negro Poetry (1922), James Weldon Johnson argues that \"the colored poet in the United States needs to do something like what Synge did for the Irish.\" This article considers the theatrical works of Zora Neale Hurston in light of Johnson's injunction. In their theatres, John Millington Synge and Zora Neale Hurston work to create a breathing archive of Irish and Black American cultures, respectively, using the stage to portray Irish and Black American folk cultures and give spectators the opportunity to see, hear, and experience performative aspects of those traditions. In addition to drafting scripts that attempt to stage Irish and Black American rituals, their emphasis on interpreting the unique rhythms of vernacular spoken traditions and of directly staging collected folk stories offers evidence of this goal. This article focuses on the use of the keen in Riders to the Sea and the use of the cakewalk in Color Struck to highlight how Synge and Hurston locate rituals in their cultural contexts, thereby giving a representation of them that audiences might consider authentic, while also writing against the stereotypes associated with the cultures under discussion.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"65 1","pages":"499 - 521"},"PeriodicalIF":0.3,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43703591","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 Positive Statement of a Negative Thing": Nietzschean Eternal Recurrence as Dramatic Form in Samuel Beckett's Waiting for Godot “否定事物的肯定陈述”:贝克特《等待戈多》中尼采的永恒再现作为戏剧形式

IF 0.3 2区艺术学

MODERN DRAMA Pub Date : 2022-12-01 DOI: 10.3138/md-65-4-1182

M. Fogarty

{"title":"\"A Positive Statement of a Negative Thing\": Nietzschean Eternal Recurrence as Dramatic Form in Samuel Beckett's Waiting for Godot","authors":"M. Fogarty","doi":"10.3138/md-65-4-1182","DOIUrl":"https://doi.org/10.3138/md-65-4-1182","url":null,"abstract":"abstract:Much has been written in the late twentieth and early twenty-first centuries about the pessimistic tenor of Samuel Beckett's middle-period plays. With specific reference to Waiting for Godot, however, this essay draws a distinction between the pessimistic appearance of the content that partially constitutes this text and the nature of the formal medium through which it is realized. In short, I argue that there is a critical disjunction between what this play says and what this play does. Conceptually speaking, this essay is primarily concerned with Beckett's textual engagement with the theory of eternal recurrence, that is, the idea that all occurrences have happened innumerable times before, and will happen again, and again, in an infinitely recurring cycle. Focusing on how Waiting for Godot developed, both in translation and as a performance piece under the direction of its author, I demonstrate that Beckett's metatheatrical dramatization of eternal recurrence explores this theory's capacity to function as an ethical imperative in the morally nihilistic atmosphere of post-Holocaust Europe. In doing so, Beckett's play implicates the viewer in a dramatization that is aligned with the axiological iteration of eternal recurrence that modern and contemporary scholars associate with Friedrich Nietzsche. Indeed, it is in this sense that Waiting for Godot is, as Beckett himself puts it, \"a positive statement of a negative thing.\"","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"65 1","pages":"522 - 546"},"PeriodicalIF":0.3,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49025610","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

Christin Essin, Working Backstage: A Cultural History and Ethnography of Technical Theater Labor 克里斯汀·埃辛:《后台工作:技术戏剧劳动的文化史和民族志》

IF 0.3 2区艺术学

MODERN DRAMA Pub Date : 2022-12-01 DOI: 10.3138/md-65-4-br2

Chrystyna M. Dail

引用次数: 0

Shannon Walsh, Eugenics and Physical Culture Performance in the Progressive Era: Watch Whiteness Workout Shannon Walsh，进步时代的优生学和体育表现：观看Whiteness训练

IF 0.3 2区艺术学

MODERN DRAMA Pub Date : 2022-12-01 DOI: 10.3138/md-65-4-br7

Eero Laine

引用次数: 0

Migrant Deaths and European Revenants in Thomas Köck's antigone. a requiem (2019): Sophocles' Tragedy Recomposed and Decomposed 托马斯·库克作品《移民死亡与欧洲人的复仇》。安魂曲（2019）：索福克勒斯的悲剧重组与分解

IF 0.3 2区艺术学

MODERN DRAMA Pub Date : 2022-12-01 DOI: 10.3138/md-65-4-1216

C. Wald

{"title":"Migrant Deaths and European Revenants in Thomas Köck's antigone. a requiem (2019): Sophocles' Tragedy Recomposed and Decomposed","authors":"C. Wald","doi":"10.3138/md-65-4-1216","DOIUrl":"https://doi.org/10.3138/md-65-4-1216","url":null,"abstract":"abstract:This article discusses antigone. a requiem (2019) by the Austrian playwright Thomas Köck as one of the latest contributions to a growing body of work that has engaged with Sophocles' Antigone in light of current migration debates. Avoiding psychological realism in favour of postdramatic techniques, antigone. a requiem differs aesthetically from other recent revisions in that this tragedy-as-requiem does not primarily aim for the audience's affective response. Inspired by Judith Butler's theory of the spectral return of socially neglected, ungrievable lives, the play replaces Antigone's unburied brother with corpses washed ashore on European beaches to question European migration policies through a critical assessment of Europe's necropolitics. Formally recomposing Sophocles' tragedy as a requiem with a distinct linguistic musicality, Köck's play skilfully repurposes the funeral song shared by Sophocles' Antigone and chorus and relocates Antigone's anagnorisis to the chorus of contemporary Europeans who eventually recognize themselves in the dead. Köck's requiem also decomposes its model, as it stages the undead as revenants who return to remind Europe of its history of colonization and exploitation, in which Sophocles' Antigone was employed as a carrier of European values. In this respect, Köck's recomposition also sings a requiem for Antigone itself.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"65 1","pages":"547 - 570"},"PeriodicalIF":0.3,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44138531","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

Christopher Morash, Yeats on Theatre 克里斯托弗·莫拉什，叶芝戏剧

IF 0.3 2区艺术学

MODERN DRAMA Pub Date : 2022-12-01 DOI: 10.3138/md-65-4-br6

Geoffrey Lokke

引用次数: 0

Miguel Escobar Varela, Theater as Data: Computational Journeys into Theater Research Miguel Escobar Varela，戏剧作为数据：戏剧研究的计算之旅

IF 0.3 2区艺术学

MODERN DRAMA Pub Date : 2022-12-01 DOI: 10.3138/md-65-4-br1

Kate Elswit

引用次数: 0

Galina Kiryushina, Einat Adar & Mark Nixon, Samuel Beckett and Technology Galina Kiryushina, Einat Adar & Mark Nixon, Samuel Beckett and Technology

IF 0.3 2区艺术学

MODERN DRAMA Pub Date : 2022-12-01 DOI: 10.3138/md-65-4-br5

Trish McTighe

引用次数: 0