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Origins, Influences, and Developments in Quick-Change and Protean Acting in British Popular Entertainment, 1800–1930 1800-1930年英国大众娱乐中瞬息万变的表演的起源、影响和发展
IF 0.1 3区 艺术学
NEW THEATRE QUARTERLY Pub Date : 2026-02-17 DOI: 10.1017/s0266464x2510078x
Bernard Ince
{"title":"Origins, Influences, and Developments in Quick-Change and Protean Acting in British Popular Entertainment, 1800–1930","authors":"Bernard Ince","doi":"10.1017/s0266464x2510078x","DOIUrl":"https://doi.org/10.1017/s0266464x2510078x","url":null,"abstract":"This article explores the historical antecedents and later developments of the ‘quick-change’ or so-called ‘protean’ performance genres enacted on the British stage by male and female artists of the nineteenth and early twentieth century. Foundational in intent and chronological in approach, it foregrounds previously unknown or neglected performers, especially (though not exclusively) from Britain, whose respective contributions to these genres have seldom been recognized. Overall, the research highlights the rich complexity of these marginalized yet sophisticated performance practices that have been critically ignored within theatre historiography but which are still alive today.","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"8 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2026-02-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"146205309","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"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
Dialogic Interplay between Film and Theatre: Flaherty’s Docufilm Man of Aran in Martin McDonagh’s The Cripple of Inishmaan 电影与戏剧的对话互动：弗莱厄蒂在马丁·麦克唐纳的《伊尼什曼的瘸子》中的纪录电影《阿兰人》
IF 0.1 3区 艺术学
NEW THEATRE QUARTERLY Pub Date : 2026-02-17 DOI: 10.1017/s0266464x25100742
Jing Wang, Junwu Tian
{"title":"Dialogic Interplay between Film and Theatre: Flaherty’s Docufilm Man of Aran in Martin McDonagh’s The Cripple of Inishmaan","authors":"Jing Wang, Junwu Tian","doi":"10.1017/s0266464x25100742","DOIUrl":"https://doi.org/10.1017/s0266464x25100742","url":null,"abstract":"Drawing on the framework of intermediality, this article investigates Martin McDonagh’s decision to embed Robert Flaherty’s documentary <jats:italic>Man of Aran</jats:italic> within <jats:italic>The Cripple of Inishmaan.</jats:italic> Such an intertextual layering produces a dialogic encounter between theatre and cinema that dismantles Flaherty’s idealized vision of a harsh, primitive island existence in 1930s Ireland, substituting instead a sardonic, anti-romantic critique. McDonagh highlights the fractured familial relations, the peculiarities of the island community, and the absence of any natural harmony to construct a counter-perspective. This dramaturgical device of the ‘film-within-a-play’ operates ‘ekphrastically’, allowing the inserted text to breach the dramatic frame and open onto a liminal space – at once intermediary and unstable – between reality and representation. The article argues that this intermedial practice prompts spectators to interrogate both cinematic myth-making and theatrical narration, generating a hybrid aesthetic zone where stage and screen unsettle traditional dramatic forms and broaden the field of interpretation.","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"59 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2026-02-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"146205096","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"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
Born of Revolution: A Short History of Festival de Almada 革命而生：阿尔马达节简史
IF 0.1 3区 艺术学
NEW THEATRE QUARTERLY Pub Date : 2026-02-17 DOI: 10.1017/s0266464x25100808
Mark Brown
{"title":"Born of Revolution: A Short History of Festival de Almada","authors":"Mark Brown","doi":"10.1017/s0266464x25100808","DOIUrl":"https://doi.org/10.1017/s0266464x25100808","url":null,"abstract":"Festival de Almada – which was established in the city of Almada, on the south bank of the River Tagus, in 1984 – is Portugal’s pre-eminent international theatre festival. Led by its founding director, the acclaimed theatre-maker Joaquim Benite, until his death in 2012, the showcase has been taken forward successfully by his successor Rodrigo Francisco. Famous for its friendly and welcoming atmosphere, its democratic ethos and its ambitious programming, the festival has attracted many of the greatest companies, directors, and actors in world theatre. In 2020, Festival de Almada was the first summer festival to proceed – under assiduously applied public health protocols – in the midst of the Covid-19 pandemic. In this article Mark Brown (who has attended most editions of the festival since 2008) provides a historical overview of the Almada showcase, highlighting particularly significant aspects of its ethos and programming, and offering critical insights into some notable productions.","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"94 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2026-02-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"146205097","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"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
Performing A Taste of Millefeuille : Puppetry, Performativity, and Cross-Cultural Adaptation 表演《千夫镇的味道：木偶戏、表演和跨文化适应》
IF 0.1 3区 艺术学
NEW THEATRE QUARTERLY Pub Date : 2026-02-17 DOI: 10.1017/s0266464x25100754
Yun Geng
{"title":"Performing A Taste of Millefeuille : Puppetry, Performativity, and Cross-Cultural Adaptation","authors":"Yun Geng","doi":"10.1017/s0266464x25100754","DOIUrl":"https://doi.org/10.1017/s0266464x25100754","url":null,"abstract":"This article reflects on performing <jats:italic>A Taste of Millefeuille</jats:italic> , a visual theatre piece by Éric de Sarria that develops the aesthetic and pedagogical legacy of Compagnie Philippe Genty. Focusing on the 2024 production at Theatre YOUNG (Shanghai), it examines how physical manipulation, gendered presence, and material interaction were adapted to linguistic, cultural, and performative contexts. Using a practice-based and auto-ethnographic lens, it explores how memory, rhythm, and performer–object relations were negotiated in rehearsal and performance. These reflections are placed within wider debates on intercultural theatre-making and visual dramaturgy, showing how meaning can emerge across cultures through non-verbal performance.","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2026-02-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"146205098","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"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
Theatre as Nature Writing: What We See When We Look 戏剧作为自然写作：当我们看的时候我们看到了什么
IF 0.1 3区 艺术学
NEW THEATRE QUARTERLY Pub Date : 2026-02-17 DOI: 10.1017/s0266464x25100791
Julie Hudson
{"title":"Theatre as Nature Writing: What We See When We Look","authors":"Julie Hudson","doi":"10.1017/s0266464x25100791","DOIUrl":"https://doi.org/10.1017/s0266464x25100791","url":null,"abstract":"From an eco-spectatorial perspective, every live theatrical event is an ecosystem – a fusion of production, reception, society, and the environment. In Timothy Morton’s phrase from <jats:italic>Being Ecological</jats:italic> (2018), live theatre is ‘an experiential space’. When theatre (whatever its subject matter) is recognized as ecological, flows of energy, matter, and ideas come into view, as the combined life force driving the whole. In 2016, Carl Lavery asked, of the relationship between performance and the environmental crisis, ‘What Can Theatre Do?’ As a keen reader of nature writing, with a long-standing interest in eco-spectatorship, I see parallels between theatre and nature writing. Yet, a nature/culture divide separates the two fields. In this article, I experimentally conjoin them, in the hope of seeing more clearly what theatre might do. My opening paragraphs set the ecocritical scene. A shift in style brings in nature writing as a practical experiment in spectatorship. I explore several recent examples of live theatre, as a spectator: the RSC/Good Chance 2024 production of <jats:italic>Kyoto</jats:italic> ; the 2024 revival of Complicité’s 1999 devised production <jats:italic>Mnemonic</jats:italic> ; Kae Tempest’s 2021 play <jats:italic>Paradise</jats:italic> (National Theatre); and the RSC’s 2023 Theatre Green Book production of Shakespeare’s <jats:italic>The Tempest.</jats:italic>","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"10 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2026-02-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"146205142","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"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
Interview with Laween Palestinian Cooperative: Theatre in the Time of Genocide 与Laween巴勒斯坦合作社的访谈：种族灭绝时期的戏剧
IF 0.1 3区 艺术学
NEW THEATRE QUARTERLY Pub Date : 2025-01-10 DOI: 10.1017/s0266464x24000332
Mousa Nazzal, Hamza Al-Bakri, Dia Barghouti
{"title":"Interview with Laween Palestinian Cooperative: Theatre in the Time of Genocide","authors":"Mousa Nazzal, Hamza Al-Bakri, Dia Barghouti","doi":"10.1017/s0266464x24000332","DOIUrl":"https://doi.org/10.1017/s0266464x24000332","url":null,"abstract":"<p>Laween is among several Palestinian theatre cooperatives established over the last decade, which have not received sufficient attention from theatre scholars. Born out of the struggle of living under Israeli apartheid, the repression of the Palestinian Authority, and alienation from NGO theatres, whose work has been depoliticized by reliance on foreign funding, the emergence of these theatre cooperatives represents a significant change in the Palestinian cultural landscape. Working with a renewed cultural and political consciousness, Laween seeks to reflect collectively on, and resist the various forms of oppression experienced by, the Palestinian community. The ongoing Israeli genocide in Gaza, together with Israeli military and settler violence in the West Bank, make it more pertinent than ever to rethink what ‘cultural resistance’ means in the Palestinian context and to give attention to the community initiatives grappling with the brutal realities of ethnic cleansing through art. The interview here with two of the founding members of Laween, Mousa Nazzal and Hamza Al-Bakri, discusses the development, challenges, and envisaged future of this Palestinian theatre cooperative.</p>","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"6 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2025-01-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142939784","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"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
Bergson and the Mechanics of the Bedroom Farce 柏格森和卧室闹剧的机制
IF 0.1 3区 艺术学
NEW THEATRE QUARTERLY Pub Date : 2025-01-10 DOI: 10.1017/s0266464x24000290
Laurence Senelick
{"title":"Bergson and the Mechanics of the Bedroom Farce","authors":"Laurence Senelick","doi":"10.1017/s0266464x24000290","DOIUrl":"https://doi.org/10.1017/s0266464x24000290","url":null,"abstract":"<p>Whereas the earliest farces deal with human appetites on the most basic level, by the mid-nineteenth century these had been sublimated and incorporated into a newly mechanical format. Inaugurated by Eugène Labiche, and perfected by Alfred Hennequin and Georges Feydeau, these masterpieces of clockwork ingenuity would appear to be the inspiration for Henri Bergson’s theory of comedy. This article explores the evolution of this style of farce, and demonstrates how Bergson’s influential ideas were themselves influenced not only by the popularity of the boulevard theatre, but also by prevailing concepts of clinical psychology and a Symbolist aesthetic. It is further argued, however, that Bergson’s reduction of the comic butt to an automaton fails to account for the empathetic element: the heavy quantum of anxiety conveyed from character to spectator.</p>","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"56 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2025-01-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142939785","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"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
Shakespeare’s Polar Bears 莎士比亚的北极熊
IF 0.1 3区 艺术学
NEW THEATRE QUARTERLY Pub Date : 2025-01-10 DOI: 10.1017/s0266464x24000277
Nick de Somogyi
{"title":"Shakespeare’s Polar Bears","authors":"Nick de Somogyi","doi":"10.1017/s0266464x24000277","DOIUrl":"https://doi.org/10.1017/s0266464x24000277","url":null,"abstract":"<p>This is the third in a trilogy of articles for <span>NTQ</span> addressed to the ‘noises off’ supplied by Shakespeare’s earliest co-stars: the baited bears that competed for trade, fame, and patronage for the duration of his career as an actor-playwright. ‘Shakespeare and the Three Bears’ (NTQ 106, May 2011) sketched this context, exposing as a <span>canard</span>, via a mistakenly omitted comma, that there ever was a bear named Harry Hunks. ‘Shakespeare and the Naming of Bears’ (NTQ 135, August 2018) examined the influence of these rival entertainments on the structure and detail of <span>Romeo and Juliet.</span> ‘Shakespeare’s Polar Bears’ now expands that investigation by seeking to offer a long view of the dramatist’s association with, and attention to, such foul animal ‘sports’, and to supply a comprehensive context for the most famous stage direction in theatre history.</p>","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"35 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2025-01-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142939779","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"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
Edward Gordon Craig as Teacher-Dictator 爱德华·戈登·克雷格饰演的独裁者老师
IF 0.1 3区 艺术学
NEW THEATRE QUARTERLY Pub Date : 2025-01-10 DOI: 10.1017/s0266464x24000289
Philippa Burt
{"title":"Edward Gordon Craig as Teacher-Dictator","authors":"Philippa Burt","doi":"10.1017/s0266464x24000289","DOIUrl":"https://doi.org/10.1017/s0266464x24000289","url":null,"abstract":"<p>Edward Gordon Craig was a controversial and iconoclastic figure in the early twentieth-century British theatre. Underpinning his work as a director, designer, and essayist was a desire to secure obedience and loyalty from the people with whom he worked and to ensure that he was the unquestioned authority. Nowhere was this ambition clearer than in his School for the Art of the Theatre, which he ran in Florence from 1913 to 1914. This article draws on extensive archival research, providing a detailed examination of the School’s structure, organization, and curriculum and demonstrating the importance that Craig placed on discipline, which became the School’s governing principle. It contextualizes the School’s practice, discussing Craig’s work in and outside the theatre and his political views so as to consider why he prized discipline above all else. In particular, the article reveals, for the first time, his intense misogyny and celebration of fascism in the 1920s and 1930s, and shows how this informed his school scheme and was informed by it.</p>","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"04 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2025-01-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142939782","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"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
Kunqu in Europe 昆曲在欧洲
IF 0.1 3区 艺术学
NEW THEATRE QUARTERLY Pub Date : 2025-01-10 DOI: 10.1017/s0266464x24000307
Chengzhou He, Ting Yang
{"title":"Kunqu in Europe","authors":"Chengzhou He, Ting Yang","doi":"10.1017/s0266464x24000307","DOIUrl":"https://doi.org/10.1017/s0266464x24000307","url":null,"abstract":"<p>This overview presents <span>kunqu</span>’s historical journey, suggesting its future trends on European stages. Over the decades, <span>kunqu</span> has grown from traditional performances to avant-garde adaptations, including notable versions of <span>The Peony Pavilion</span> by Peter Sellars and also Chen Shizheng, which fostered intercultural dialogue. Key performances by troupes and artists have modernized <span>kunqu</span>, as exemplified by Bai Xianyong’s youth edition of <span>The Peony Pavilion</span>, and its appeal to younger audiences. Pre- and post-performance lectures have enhanced European understanding of <span>kunqu</span>, contributing to its recognition internationally. The dynamic interplay between tradition and innovation, and local and global perception, reveals <span>kunqu</span>’s enduring relevance and its active role in cultural exchange.</p>","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"39 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2025-01-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142939832","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"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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