CONTEMPORARY THEATRE REVIEW最新文献_第10页

Performance and the Critique of Resilience in Culture (England, 2004–2020) 绩效与文化弹性批判(英国，2004-2020)

IF 0.3 2区艺术学

CONTEMPORARY THEATRE REVIEW Pub Date : 2023-11-23 DOI: 10.1080/10486801.2023.2200175

John Yves Pinder

引用次数: 0

The Decolonial Labour and the Gift of Contemporary Sámi Performance 非殖民劳动和当代的礼物Sámi表演

IF 0.3 2区艺术学

CONTEMPORARY THEATRE REVIEW Pub Date : 2023-11-23 DOI: 10.1080/10486801.2023.2200177

Dirk Gindt

引用次数: 0

Editorial 33.3 编辑33.3

IF 0.3 2区艺术学

CONTEMPORARY THEATRE REVIEW Pub Date : 2023-11-23 DOI: 10.1080/10486801.2023.2270300

Maria M. Delgado, Maggie B. Gale, Bryce Lease, Sarah Thomasson, Sir Anril Pineda Tiatco

引用次数: 0

On Scent in Theatre Audience Research: Sensory Mining and Olfactory Archives 戏剧观众研究中的气味:感官挖掘与嗅觉档案

IF 0.3 2区艺术学

CONTEMPORARY THEATRE REVIEW Pub Date : 2023-11-23 DOI: 10.1080/10486801.2023.2200176

Freya Verlander

引用次数: 0

Backpages 33.3 Backpages 33.3

IF 0.3 2区艺术学

CONTEMPORARY THEATRE REVIEW Pub Date : 2023-11-23 DOI: 10.1080/10486801.2023.2249687

引用次数: 0

Essential Work: Eastern European Immigrants and Models of Participation 基本工作:东欧移民和参与模式

IF 0.3 2区艺术学

CONTEMPORARY THEATRE REVIEW Pub Date : 2023-11-23 DOI: 10.1080/10486801.2023.2200181

Bojana Janković

引用次数: 0

On the Edge: Straddling (Anti)normativity in Queer Performance 边缘：酷儿表演中的跨（反）规范性

IF 0.3 2区艺术学

CONTEMPORARY THEATRE REVIEW Pub Date : 2023-08-03 DOI: 10.1080/10486801.2023.2173590

Laine Halpern Zisman

{"title":"On the Edge: Straddling (Anti)normativity in Queer Performance","authors":"Laine Halpern Zisman","doi":"10.1080/10486801.2023.2173590","DOIUrl":"https://doi.org/10.1080/10486801.2023.2173590","url":null,"abstract":"AbstractIn Living a Feminist Life, Sara Ahmed explains that precarity is akin to a vase on the mantelpiece. If it were pushed even slightly, it would fall off the edge. Existence on that edge, Ahmed explains, is what we allude to when we discuss precarious populations. Patriarchy, racism, ableism, homophobia, and transphobia are violent forces. They threaten to push us over the edge. Queer performance often begins in this in-between state on the mantelpiece, not quite fallen, not quite stable, negotiating, and straddling a balance between holding on to a fragile state and falling off the mantle entirely. In this article, I analyze the Queer Pride Inside Cabaret (June 2020), the first official partnership between Buddies in Bad Times Theatre, the largest and longest running queer theatre in the world, and the CBC, a Canadian federal Crown corporation and national public broadcaster. In considering the mainstream producers and the radical queer artists showcased, I refuse a simplistic antinormative/normative binary in queer performance in Canada and make space for accessing resources from the mainstream, while rejecting inequitable systems of oppression. If queer theatre is intended to break down ingrained static and naturalized assumptions of everyday practices, how do we understand queer performance through contradictions and incoherence? Can we simultaneously fuck the system and accept our complicity within it? Complicating the unique and diverse ways artists opt-in and out of mainstream queer presence, this article looks at creative practices that challenge and promote continuing legacies and failures of queer performance in Canada.","PeriodicalId":43835,"journal":{"name":"CONTEMPORARY THEATRE REVIEW","volume":"7 3","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-08-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71435161","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 Self-Indulgent Narcissus: Performing Marxist Humanism as Individualism in the Work of Petr Štembera 自我放纵的水仙：在彼得-斯腾贝拉的作品中将马克思主义人道主义演绎为个人主义

IF 0.3 2区艺术学

CONTEMPORARY THEATRE REVIEW Pub Date : 2023-07-03 DOI: 10.1080/10486801.2023.2200180

Sam Čermák

{"title":"A Self-Indulgent Narcissus: Performing Marxist Humanism as Individualism in the Work of Petr Štembera","authors":"Sam Čermák","doi":"10.1080/10486801.2023.2200180","DOIUrl":"https://doi.org/10.1080/10486801.2023.2200180","url":null,"abstract":"Abstract Petr Štembera’s first performance Narcissus No. 1 (1974) was staged as a religious ritual of self-acceptance. During the performance, the artist used a combination of Greek mythology and Christian Eucharistic ritual as a basis for the action during which he consumed detritus from his body while looking at a portrait of himself. This method of arguably self-indulgent individualism was at the core of his broader practice as a pioneer of Czech Body Art. Using Czech philosophical writings on Marxist humanism, this article seeks to reframe individualism, selfishness, and self-indulgence not as pejoratives that are used to dismiss performance works but as a productive basis for a theory of performance-making strategy. Štembera used Zen-Buddhism and phenomenological approaches to contest the political aspects relating to the body in Late Socialist Czechoslovakia. His performance was purposefully selfish, self-indulgent, and individualistic and he strategically refused to share the specifics of his experience with his audience. Instead, he used his performance to offer permission to his audience to perform similar acts of self-indulgence, which in the context of the collectivist Socialist regime of the 1970s functioned, I argue, as a politically subversive act.","PeriodicalId":43835,"journal":{"name":"CONTEMPORARY THEATRE REVIEW","volume":"40 1","pages":"292 - 312"},"PeriodicalIF":0.3,"publicationDate":"2023-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139364079","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

Kings, Queens, Monsters, and Things: Digital Drag Performance and Queer Moves in Artificial Intelligence (AI) 国王、皇后、怪物和事物:人工智能(AI)中的数字变装表演和奇怪动作

IF 0.3 2区艺术学

CONTEMPORARY THEATRE REVIEW Pub Date : 2023-04-03 DOI: 10.1080/10486801.2023.2173592

J. Parslow

{"title":"Kings, Queens, Monsters, and Things: Digital Drag Performance and Queer Moves in Artificial Intelligence (AI)","authors":"J. Parslow","doi":"10.1080/10486801.2023.2173592","DOIUrl":"https://doi.org/10.1080/10486801.2023.2173592","url":null,"abstract":"Abstract The Zizi Project is a series of connected art and performance pieces created by artist Jake Elwes in collaboration with Me The Drag Queen and members of London’s drag performance scene. The works – currently Zizi: Queering the Dataset (2019), Zizi & Me (2020; ongoing), and The Zizi Show (2020) – sit at the intersection of drag performance and Artificial Intelligence (AI), playing with and queering facial recognition software, deepfake technologies, and Machine Learning algorithms. I consider The Zizi Project as an example of work at the vanguard of an emergent field of queer AI performance. The project intervenes in complex conversations surrounding AI and Machine Learning, including the lack of representation of diverse identities and communities in datasets used to train these systems and the complexity of creating datasets which include queer and trans bodies and identities. However, in aiming to use drag performance to expose and demystify these complex technological systems to audiences, I propose that queerer forms of art making and performance emerge that push at the boundaries of both drag and the technologies used. Ultimately, The Zizi Project articulates drag and queer futures where the digital and the actual interact in increasingly complex ways to explore notions of diversity, inclusion, and access that speak to fundamental questions of what counts as drag, what counts as queer, and, indeed, what count as human.","PeriodicalId":43835,"journal":{"name":"CONTEMPORARY THEATRE REVIEW","volume":"33 1","pages":"128 - 148"},"PeriodicalIF":0.3,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41840948","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

Storying Silenced Queer Narratives: Koleka Putuma’s re-membering and re-memorying of Queer Trauma in No Easter Sunday for Queers (2019) 故事无声的酷儿叙事：Koleka Putuma在《酷儿无复活节周日》（2019）中对酷儿创伤的重新记忆

IF 0.3 2区艺术学

CONTEMPORARY THEATRE REVIEW Pub Date : 2023-04-03 DOI: 10.1080/10486801.2023.2173591

Kamogelo Molobye

{"title":"Storying Silenced Queer Narratives: Koleka Putuma’s re-membering and re-memorying of Queer Trauma in No Easter Sunday for Queers (2019)","authors":"Kamogelo Molobye","doi":"10.1080/10486801.2023.2173591","DOIUrl":"https://doi.org/10.1080/10486801.2023.2173591","url":null,"abstract":"Abstract Contemporary theatre in South Africa has a history of hegemonically framing narratives that prevalence cisheteronormative stories. These narratives exacerbate the already existing acts of violence resulting from systems that place queerness against the backdrop of marginality. Inquiries in queer histories, identities, and sexualities arouse questions of belongingness, emphasising perspectives and tensions that many queer people in South Africa grapple with due to inherited systems of silencing. This article applies a dialogic framework between Diana Taylor’s The Archive and the Repertoire: Performing Cultural Memory in the Americas (2003) and Judith Butler’s Frames of War: When Is Life Grievable? (2009) to explore the process of queering contemporary theatre and performers in South Africa. In this article, I explore how the work of Koleka Putuma, with specific reference to No Easter Sunday for Queers (2019), participates in the act of carving out a space of belongingness through embodied modes of re-membering and re-memorying through theatre and performance. The orientation of Putuma’s work guides this paper to ask: in what ways does South African queer theatre confront systems of power, violence, and dominance that silence queer people in contemporary South Africa?","PeriodicalId":43835,"journal":{"name":"CONTEMPORARY THEATRE REVIEW","volume":"33 1","pages":"31 - 43"},"PeriodicalIF":0.3,"publicationDate":"2023-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44517263","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