发布求助
文献互助 智能选刊 最新文献

NEW THEATRE QUARTERLY最新文献

筛选
英文 中文
Practising ‘Love & Faith’ when Queering the Early Modern Canon 在阅读早期现代正典时实践“爱与信仰”
IF 0.1 3区 艺术学
NEW THEATRE QUARTERLY Pub Date : 2026-09-03 DOI: 10.1017/s0266464x26100864
Lucy Boon
{"title":"Practising ‘Love & Faith’ when Queering the Early Modern Canon","authors":"Lucy Boon","doi":"10.1017/s0266464x26100864","DOIUrl":"https://doi.org/10.1017/s0266464x26100864","url":null,"abstract":"Utilizing a Practice-as-Research methodology (PaR), this article reflects on creative discoveries made in the ‘Queer 4 Shx’ creative development, which was a series a workshops conducted by the author to develop the scripts for a queer early modern adaptation titled <jats:italic>Love &amp; Faith</jats:italic> ( <jats:italic>and something unholy</jats:italic> ), which debuted at Qtopia Sydney in 2024. The workshop series engaged a team of LGBTIQ+ actors to explore scenes from John Lyly’s <jats:italic>Galatea</jats:italic> and William Shakespeare’s <jats:italic>Measure for Measure</jats:italic> , considering how these works might be adapted into a queer split-bill performance the following year. This paper unpacks several creative discoveries made in the workshops, as well as actor insights and reflections, situating the rehearsal room as a central site of knowledge generation. It demonstrates how the adaptation of early modern plays can provide queer artists with the opportunity to locate personal and collective histories that have been lost or erased, and highlights how these histories might allow queer artists to rethink the present and produce positive futures through creative embodiment. Such discoveries draw attention to the reparative function of adaptation: how it might offer LGBTIQ+ creatives the opportunity to renegotiate our relationship with time itself by creatively engaging with the inbuilt queerness of early modern plays.","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"47 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2026-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"148877288","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
In Conversation: On Human Animals 对话：关于人类和动物
IF 0.1 3区 艺术学
NEW THEATRE QUARTERLY Pub Date : 2026-09-03 DOI: 10.1017/s0266464x2610089x
Stef Smith, Tuğba Aygan
{"title":"In Conversation: On Human Animals","authors":"Stef Smith, Tuğba Aygan","doi":"10.1017/s0266464x2610089x","DOIUrl":"https://doi.org/10.1017/s0266464x2610089x","url":null,"abstract":"With her politically engaged writing and innovative adaptations, Stef Smith is one of the most distinctive voices in contemporary British theatre. She first gained recognition in 2010 for <jats:italic>Roadkill</jats:italic> , which won an Olivier Award, and her later plays, such as <jats:italic>Swallow</jats:italic> (2015), <jats:italic>Girl in the Machine</jats:italic> (2017), and <jats:italic>Enough</jats:italic> (2019), have been staged internationally. While each of these pieces attests to the playwright’s ability to confront such urgent social issues as technology, gender, and identity, the focus of her 2016 play <jats:italic>Human Animals</jats:italic> is on humans’ fragile relationship with animals and the wider environment. By foregrounding animals as literal and symbolic agents, the play challenges its audiences to reconsider the boundaries between human and non-human animals, and the ethical implications of survival. In this interview, conducted in December 2025, Tuğba Aygan talks to Stef Smith about <jats:italic>Human Animals.</jats:italic> Their discussion highlights Smith’s creative process, thematic concerns, and her insights into our relationship with non-human animals.","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"5 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2026-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"148877287","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
A Theatre in Transition: Alfred Sutro at the Edge of Modern Drama 转型中的剧院：阿尔弗雷德·苏特罗在现代戏剧的边缘
IF 0.1 3区 艺术学
NEW THEATRE QUARTERLY Pub Date : 2026-09-03 DOI: 10.1017/s0266464x26100906
Mihnea Cazacu
{"title":"A Theatre in Transition: Alfred Sutro at the Edge of Modern Drama","authors":"Mihnea Cazacu","doi":"10.1017/s0266464x26100906","DOIUrl":"https://doi.org/10.1017/s0266464x26100906","url":null,"abstract":"The playwright and translator Alfred Sutro (1863–1933), now largely forgotten, played a rarely acknowledged part in the turn to a more socially conscious drama at the beginning of the twentieth century. This article seeks to reassess his relevance as a transitional figure whose career reflected the contradictory features of a changing cultural landscape. Commercially successful in the West End and able to draw large audiences to his plays, he nonetheless probed the latent tensions and conflicts of the Edwardian era with a critical gaze. In Sutro’s work, the interplay between the established conventions of West End theatre models and occasional subversive elements which undermine them is representative of a period which accommodated a widening range of approaches and perspectives. As a serious dramatist who nonetheless remained attuned to box-office appeal, he combined moments of frivolous humour with a strong moralizing tendency, bringing together two seemingly incompatible sides of the Edwardian theatre.","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"13 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2026-09-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"148877286","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
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
下一页 尾页
0
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
提示
您的信息不完整，为了账户安全，请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
现在去查看 取消
×
提示
确定
请完成安全验证×
相关产品
×
本文献相关产品
联系我们：info@booksci.cn Book学术提供免费学术资源搜索服务，方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。 Copyright © 2023 布克学术 All rights reserved.
京ICP备2023020795号-1
ghs 京公网安备 11010802042870号
Book学术文献互助
Book学术文献互助群
群 号：604180095
Book学术官方微信
小红书