MODERN DRAMA最新文献_第8页

Lawrence La Fountain-Stokes, Translocas: The Politics of Puerto Rican Drag and Trans Performance Lawrence La Fountain-Stokes，《Translocas: Puerto Rican变装与变性表演的政治》

IF 0.3 2区艺术学

MODERN DRAMA Pub Date : 2022-10-01 DOI: 10.3138/md-65-3-br03

Patricia E. Herrera

引用次数: 0

Pausing on a Sunday: Sondheim and the Composition of the Secular in the American Musical 星期天的停顿:桑德海姆与美国音乐剧中的世俗成分

IF 0.3 2区艺术学

MODERN DRAMA Pub Date : 2022-10-01 DOI: 10.3138/md.65-3-1199

Kathryn Lofton

引用次数: 0

Post-Auschwitz Dramaturgy: Toward the Later Edward Bond 后奥斯威辛戏剧：走向后来的爱德华·邦德

IF 0.3 2区艺术学

MODERN DRAMA Pub Date : 2022-10-01 DOI: 10.3138/md-65-3-1121

Chien‐Cheng Chen

{"title":"Post-Auschwitz Dramaturgy: Toward the Later Edward Bond","authors":"Chien‐Cheng Chen","doi":"10.3138/md-65-3-1121","DOIUrl":"https://doi.org/10.3138/md-65-3-1121","url":null,"abstract":"abstract:Although British playwright Edward Bond is well known for his early plays during the 1960s–80s, his later works, from the late 1990s onward, have been relatively overlooked and underexplored. In this article, I aim to bridge these two phases and propose a theoretical framework to approach Bond’s evolution as a playwright. I will first examine Bond’s critical engagement with Brecht, and then I will proceed to analyse Bond’s evolving dramaturgy of the Holocaust, which will help to demonstrate how Bond has developed what we might call his post-Auschwitz dramaturgy. While criticizing Brecht’s theatre for being the “Theatre of Auschwitz,” Bond bases his post-Brechtian dramaturgy on his specific understanding of the infamous Nazi concentration camp. Bond regards Auschwitz as not only a localized historical event but also a trans-historical structure of biopolitics, manifested in both the camp and an ensuing neoliberal capitalist system. By drawing on two pivotal passages of the Palermo improvisation (which took place in 1983) and the Russian guard’s story, both of which Bond describes in “Commentary on The War Plays” (1991), I will elucidate how these examples herald a “ post-Auschwitz” dramaturgical model that can be understood through Emmanuel Levi-nas’s ethics and Giorgio Agamben’s biopolitics. Building on this analysis, I will analyse Bond’s plays The Crime of the Twenty-First Century (1999) and Born (2006) to argue that it is the dissonance between the biopolitical paradigm exemplified in Auschwitz and the human subject’s fundamental creativity that defines Bond’s later works.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"65 1","pages":"429 - 448"},"PeriodicalIF":0.3,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45091472","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

Rashna Darius Nicholson, The Colonial Public and the Parsi Stage: The Making of the Theatre of Empire (1853–1893) 拉希纳·达利斯·尼科尔森:《殖民公众与帕西舞台:帝国剧院的形成(1853-1893)》

IF 0.3 2区艺术学

MODERN DRAMA Pub Date : 2022-10-01 DOI: 10.3138/md-65-3-br06

Abhimanyu Acharya

引用次数: 0

Hermione Lee, Tom Stoppard: A Life 赫敏·李，《汤姆·斯托帕德:一生

IF 0.3 2区艺术学

MODERN DRAMA Pub Date : 2022-10-01 DOI: 10.3138/md-65-3-br04

William W. Demastes

引用次数: 0

“The Point Is, You Don’t Seem to Have Learnt Anything”: Reimagining J.B. Priestley’s An Inspector Calls as a Brechtian Lehrstück for the Middle Classes “关键是，你似乎什么都没学到”:把普里斯特利的《检查员的呼唤》重新想象成中产阶级的布莱希特式的lehrst<e:1> ck

IF 0.3 2区艺术学

MODERN DRAMA Pub Date : 2022-10-01 DOI: 10.3138/md-65-3-1217

David Barnett

{"title":"“The Point Is, You Don’t Seem to Have Learnt Anything”: Reimagining J.B. Priestley’s An Inspector Calls as a Brechtian Lehrstück for the Middle Classes","authors":"David Barnett","doi":"10.3138/md-65-3-1217","DOIUrl":"https://doi.org/10.3138/md-65-3-1217","url":null,"abstract":"abstract:This article considers the applicability of Bertolt Brecht’s most radical formal innovation, the Lehrstück or learning play, to a play that is neither written in the Brechtian tradition nor ostensibly a Lehrstück itself. J.B. Priestley’s An Inspector Calls (1944) is a popular play often considered “political” by reviewers, yet it proposes no fundamental change to the political landscape its seeks to critique. Brecht’s Lehrstück, which dissolves the boundary between actor and spectator, offers a different mode of performance that actively confronts performers with the implications of their fictional counterparts and invites reflection on how the problems presented might be addressed. The article identifies the political shortcomings of Priestley’s play and introduces Brechtian categories into the analysis and performance of the play before radicalizing these by transforming An Inspector Calls into a Lehrstück. The process the play undergoes signals the liveliness and durability of this dramaturgical form and offers an example of how Brecht can remain productive in a contemporary theatre context.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"65 1","pages":"381 - 405"},"PeriodicalIF":0.3,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41809134","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

Soyica Diggs Colbert, Radical Vision: A Biography of Lorraine Hansberry 索伊卡·迪格斯·科尔伯特，《激进的视野:洛林·汉斯伯里传》

IF 0.3 2区艺术学

MODERN DRAMA Pub Date : 2022-10-01 DOI: 10.3138/md-65-3-br01

P. J. Edwards

引用次数: 2

Kristin Gjesdal, The Drama of History: Ibsen, Hegel, Nietzsche 克里斯汀·杰斯达尔，《历史的戏剧:易卜生、黑格尔、尼采

IF 0.3 2区艺术学

MODERN DRAMA Pub Date : 2022-10-01 DOI: 10.3138/md-65-3-br02

A. Lagaay

引用次数: 0

Ibsen Postcards / Postcard Ibsens: Domesticating Modernism 易卜生明信片/明信片易卜生:驯化现代主义

IF 0.3 2区艺术学

MODERN DRAMA Pub Date : 2022-10-01 DOI: 10.3138/md-65-3-1222

Penny Farfan

{"title":"Ibsen Postcards / Postcard Ibsens: Domesticating Modernism","authors":"Penny Farfan","doi":"10.3138/md-65-3-1222","DOIUrl":"https://doi.org/10.3138/md-65-3-1222","url":null,"abstract":"abstract:Playwright Henrik Ibsen was featured on countless postcards during the postcard craze of the late nineteenth and early twentieth centuries. Encompassing photographic portraits, snapshots, sculptures, monuments, etchings, paintings, and caricatures, the historical interest of these postcards arises not simply from the range of images of the playwright they featured but from the quantity of cards that were published and circulated, how the cards were used and by whom, and what their uses suggest about Ibsen’s popular reputation, reception, significance, impact, and reach. This essay considers the range of Ibsen postcards and also their uses, taking into account the messages inscribed on the cards, the senders and recipients, and the ways the postcards circulated as much as the Ibsen images themselves. In doing so, it considers how the postcards animate the singular figure of the iconic playwright they represent and collectively constitute a lively archive – print and manuscript, visual and textual – that conjures a variety of different Ibsens. In their diversity, myriad uses, and international range, the sampling of Ibsen postcards – and postcard Ibsens – collected here illuminate the popular status, wide reach, and domestication of a key figure in the canon of modern drama and world literature and a beacon of first-wave feminism.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"65 1","pages":"271 - 354"},"PeriodicalIF":0.3,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45086382","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

Denise Varney, Patrick White’s Theatre: Australian Modernism on Stage, 1960–2018 丹尼斯·瓦尼，帕特里克·怀特剧院：舞台上的澳大利亚现代主义，1960-2018

IF 0.3 2区艺术学

MODERN DRAMA Pub Date : 2022-10-01 DOI: 10.3138/md-65-3-br08

A. Pender

引用次数: 0