NEW THEATRE QUARTERLY最新文献

{"title":"Seda Ilter Mediatized Dramaturgy: The Evolution of Plays in the Media Age London: Methuen Drama, 2021. 240 p. £85. ISBN: 978-1-350-03115-9.","authors":"Catherine Love","doi":"10.1017/S0266464X22000082","DOIUrl":"https://doi.org/10.1017/S0266464X22000082","url":null,"abstract":"During coronavirus lockdowns, theatre-makers have been forced to get to grips with the internet as a platform for performance, prompting new conversations about theatre’s relationship with digital media. In this context, Seda Ilter’s new book – mostly written before the pandemic – reads as strikingly prescient. Mediatized Dramaturgy asks how plays have responded to the expansion of digital media since the 1990s. It’s a welcome addition to existing scholarship on theatre and mediatization, which has tended to focus on performance and neglect the play-text. Ilter also makes a valuable move beyond thinking about mediatization in terms of content, arguing thatwemust pay asmuch attention to the mode of representation as to the themes represented. Each of the chapters addresses an individual aspect ofmediatizeddramaturgy, considering elements such as language, characterization, and plot structure. Ilter examines a range of texts, adopting a refreshingly open definition of what constitutes a play. Practitioners whose work is explored include playwrights like Simon Stephens, Martin Crimp, and Caryl Churchill, as well as such genre-defying theatre-makers as Christopher Brett Bailey and John Jesurun. However, the writers discussed are mostly white, suggesting that there is further work to be done exploring how these mediatized forms intersect with Global Majority perspectives. Ilter’s analysis throughout is driven by a political interest in what plays can do in the contemporary world. She not only traces how playwrights have reflected aspects of our mediatized reality, but also assesses the critical efficacy of these efforts, using Hans-Thies Lehmann’s Postdramatic Theatre and Jacques Rancière’s work on dissensus and the distribution of the sensible as key theoretical reference points. Ultimately, Ilter favours ‘no-longerdramatic’ texts, arguing that this mode creates openings for critical rethinking. While the resistance that such plays offer to neoliberal capitalism is perhaps somewhat overstated,Mediatized Dramaturgy remains an engaging discussion of a still relatively nascent subset of contemporary playwriting. The book is at its best in the passages of detailed analysis of specific plays. One of Ilter’s most useful critical interventions is her introduction of the term ‘mediaturgical plays’ to refer to play-texts written through digital media technologies such as Twitter, using the fascinating case study of David Greig’s Yes/No Plays. In some ways, this book arrived just before its time. Several more recent plays – such as Jasmine Lee-Jones’s seven methods of killing kylie jenner and the work of Javaad Alipoor, along with various shows created online during the pandemic – speak to Ilter’s analysis, opening up further avenues to pursue in future. catherine love","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-04-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43979853","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}

{"title":"Deleuze, Beckett, and the Art of Multiplicity","authors":"S. Wilmer","doi":"10.1017/S0266464X22000070","DOIUrl":"https://doi.org/10.1017/S0266464X22000070","url":null,"abstract":"The relationship between Gilles Deleuze and Samuel Beckett has excited many scholars and continues to be of major interest today. This article explores the Deleuzian concept of multiplicity by considering quantitative and qualitative multiplicities in Beckett’s work. In differentiating between these two types, Deleuze and Félix Guattari indicate that extensive or quantitative multiplicities are essentially numerical and can be counted and represented in space. This form of multiplicity is seen in Beckett’s use of various lists of items such as Molloy counting his sucking stones or Watt considering how to dispose of Mr Knott’s food. Qualitative multiplicities, by contrast, cannot be counted because they differ in kind from one another. They are represented in duration and are here observed in the minorization of language in How It Is, among other examples. S. E. Wilmer is Professor Emeritus of Drama at Trinity College in Dublin. His most recent publications include Performing Statelessness in Europe (Palgrave Macmillan, 2018) and (with co-editor Radek Przedpełski) Deleuze, Guattari, and the Art of Multiplicity (Edinburgh University Press, 2020). He is currently co-editing the Palgrave Handbook of Theatre and Migration.","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-04-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46533328","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}

{"title":"Philip Auslander\u0000In Concert: Performing Musical Persona Ann Arbor: University of Michigan Press, 2021. 294p. £36. ISBN: 978-0-472-05471-8.","authors":"D. Pattie","doi":"10.1017/S0266464X22000100","DOIUrl":"https://doi.org/10.1017/S0266464X22000100","url":null,"abstract":"examples of work with limited previous documentation in order to ‘extend the frames of reference’. The main body of this book is comprised of twelve chapters, authored by a range of contributors, all experts in their fields of work. The chapters include a range of applied theatre case studies, interviews, and essays, offering an insight into a breadth of practice in the sector. The range of contributors covers an international scope, including the USA, UK, Australia, and South Africa. Their various theatre programmes range from weekly drama-based workshops to film and singing projects, to radio plays and more. And although each is unique in its specific context, process, and product, there is a sense of connection between them. The contributors each demonstrate an awareness of the intricate complexities of practice in this environment and offer in-depth critical analysis of the socio-political framework in which they are working, particularly in relation to gendered experiences. Extracts of performance texts are interspersed through the chapters, and these are a welcome addition. They come froma range ofCleanBreak’swork, and have all been written by women who have experience of the criminal justice sector.McAvinchey states that she included these as she was ‘aware that the voices of the subjects of this book’ are ‘carefully mediated’ by others. Along with various quotes by the participants interspersedwithin the chapters, the performance texts offer a valuable reminder of their voices, and allow the experiences of both facilitators and prisoners to sit at the heart of the book. This book, then, will be of interest to applied theatre researchers and practitioners, students interested in theatre in the criminal justice sector, and those with interest in feminist studies, particularly feminist criminology. The reader can anticipate not only an engaging and accessible read but one containing honest and insightful reflections on newunderstandingswhich have unfolded through the theatre practice. Women and the Criminal Justice System provides a rich and thorough analysis of theatre work which negotiates ethical and pragmatic issues in order to strive to meet the needs of its participants, while encouraging audiences both within and out of the prison walls to consider the challenges of women in the criminal justice system. rachel mcmurray","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-04-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43249237","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}

{"title":"The Potentials and Challenges of Zoom Live Theatre during Coronavirus Lockdown: Pandemic Therapy and Corona Chicken (Part Two)","authors":"K. Karam, Galal Mohamed Naguib","doi":"10.1017/S0266464X22000057","DOIUrl":"https://doi.org/10.1017/S0266464X22000057","url":null,"abstract":"This study discusses the potentials and challenges of Zoom theatre performances during the lockdown caused by the Covid-19 pandemic. It examines the utilization and applicability of videoconferencing software Zoom, and other streaming software compatible with it, in creating a viable performance option for theatre practitioners and audiences during mandatory social distancing. Such software can be a strategy for social inclusion, alleviating the adverse effects of extended quarantine. The article also discusses the technical and performative aspects of Zoom theatre, pointing out its pros and cons. It uses a critical and analytical approach to performances of two Zoom plays, Pandemic Therapy and Corona Chicken (Part Two), revealing how the playwright, dramaturg, and actors manage to present a live theatrical experience capable of engaging audiences and promoting social interaction. Khaled Mostafa Karam is an Assistant Professor of English Literature at the Suez University in Egypt and a Postdoctoral Fellow in the Department of Cognitive Science, Case Western Reserve University, USA. He has published eleven articles on the interdisciplinary field of cognitive science and drama. Galal Mohamed Naguib is an Assistant Professor of Sociology at Suez University and author of several articles in the fields of demographic analysis and the sociology of art.","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-04-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46427088","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}

{"title":"NTQ volume 38 issue 2 Cover and Back matter","authors":"","doi":"10.1017/s0266464x22000112","DOIUrl":"https://doi.org/10.1017/s0266464x22000112","url":null,"abstract":"","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-04-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44416800","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}

{"title":"Locating the Impolitical in American Theatre: Albee’s Who’s Afraid of Virginia Woolf? and Schechner’s Dionysus in 69","authors":"J. Pinder","doi":"10.1017/S0266464X22000069","DOIUrl":"https://doi.org/10.1017/S0266464X22000069","url":null,"abstract":"This article examines the meaning of the ‘impolitical’ regarding cases of impolitical theatre and associated critical discourse, with reference to Rodolfo Usigli and Raymond Williams, among others. It is argued that ‘impolitical’ theatre represents social relations from the standpoint of the ideal of culture. The analysis starts with Richard Schechner’s critique of the original Broadway production of Edward Albee’s Who’s Afraid of Virginia Woolf? and discusses this play, segueing into The Performance Group’s Dionysus in 69. The author indicates the differences of theatre practice between the examples chosen, and shows that these theatres nevertheless participate in the same form of theatrical representation as they broach similar social questions of moment in the Unites States in the 1960s. John Yves Pinder has recently received his PhD from the University of Leeds. He is currently teaching at Leuphana University of Lüneberg.","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-04-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44073260","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}

{"title":"Hidden Identities, Forgotten Histories: Female Provincial Touring Artists in Britain, 1887–1900","authors":"B. Ince","doi":"10.1017/S0266464X22000045","DOIUrl":"https://doi.org/10.1017/S0266464X22000045","url":null,"abstract":"Provincial touring companies of the late Victorian period, comprising mostly unknown actors and actresses, have received minimal scholarly attention until recently. The sheer number of ‘on-the-road’ artists who were employed in such enterprises from the late nineteenth century onwards increased to such an extent that to establish a framework for their individual and collective study presents significant challenges. This article addresses this problem by proposing a method, grounded in genealogy, that records the male and/or female artists of a given touring company over its full term without selective bias in order to establish a cohort of subjects for further examination. It tracks the touring companies of actor-manager Lawrence Daly, an individual unheard of today, between 1887 and 1900, the year of his death. One hundred and twenty-five female artists employed by Daly during this period are recovered, and their careers, family histories, and personal identities are subjected to statistical analysis. The conclusions drawn here not only contribute to the better understanding of the social history of non-elite female provincial artists of the late nineteenth century, but also afford the opportunity to shine a light on figures whose names, lives, and achievements are long forgotten. Further, a case is made for the method as the basis for a wide-ranging database of provincial touring companies and artists. Bernard Ince is an independent theatre historian who has contributed several articles on Victorian and Edwardian theatre to New Theatre Quarterly.","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-04-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42018414","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}

{"title":"Empowering Civil Society: The Theatricality of Protest in Malta","authors":"Vicki Ann Cremona","doi":"10.1017/S0266464X22000033","DOIUrl":"https://doi.org/10.1017/S0266464X22000033","url":null,"abstract":"The recent barbaric murder of an investigative journalist in Malta who was looking into corruption at the top echelons of power sparked off a civil society movement, Repubblika, spurring ordinary citizens into participating in collective protest action. The movement also incorporated a loose grouping of women calling themselves ‘Occupy Justice’. Different forms of protest against government corruption have resulted in the resignation of various senior politicians and high-ranking officials, including the Prime Minister. Taking as a point of departure the struggle against the unequal distribution of power as defined by Michel Foucault and Jacques Rancière, the empowering force of civil protest is here examined in relation to how power is appropriated and how institutional power is resisted. Micromobilization and mesomobilization are seen as two means of staging protest and creating a common force with which to confront corrupt power structures. Protest, power, and resistance are viewed in the light of theatrical events; the creative means deployed to stage protests are discussed. The aesthetic qualities meant to transform perception and move people to action for bringing about political change are highlighted in relation to both sensory and symbolic dynamics. Vicki Ann Cremona is Professor of Theatre Studies at the University of Malta and the author of Carnival and Power: Play and Politics in a Crown Colony (Palgrave Macmillan, 2018), as well as a co-editor of Theatre Scandals: Social Dynamics of Turbulent Theatrical Events (Brill-Rodopi, 2020).","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-04-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45533759","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}

{"title":"NTQ volume 38 issue 2 Cover and Front matter","authors":"","doi":"10.1017/s0266464x2200001x","DOIUrl":"https://doi.org/10.1017/s0266464x2200001x","url":null,"abstract":"","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-04-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44953792","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}

{"title":"Political Control, Administrative Simplicity, or Economies of Scale? Four Cases of the Reunification of Nationalized Theatres in Russia, Germany, Austria, and France (1918–45)","authors":"A. Golovlev","doi":"10.1017/S0266464X22000021","DOIUrl":"https://doi.org/10.1017/S0266464X22000021","url":null,"abstract":"In 1917–18, the new republican governments of Russia, Germany, and Austria nationalized their former court property. A monarchic-turned-national heritage of prestigious opera and dramatic theatres weighed heavily on national and regional budgets, prompting first attempts to create centralized forms of theatre governance. In a second wave of theatre reorganization in the mid-1930s, the Soviet government created ‘union theatres’ under a Committee for Arts Affairs; the German and Austrian theatres underwent the Nazi Gleichschaltung (1933–35 and 1938); and France, a ‘democratic outlier’, opted for nationalizing the Opéra and Opéra-Comique under the Réunion des théâtres lyriques nationaux. These conglomerates have so far been little studied as historically specific forms of theatre management, particularly from a comparative, trans-regime perspective. What balance can be struck between economic, political, and ‘artistic’ costs and benefits? How does ‘Baumol’s law’ of decreasing theatre profitability apply to these very different politico-economic systems, as well as to war economies? Dictatorships reveal an economic seduction power, while this essay argues for confirming a long-term ‘great European convergence’ of state-centred theatre management, internal structure, and accountability, both in peace and war. Here, the stated goals and short-term contingencies yielded to trends originating from the logic of theatre production itself, and the compromises that the state, theatre professionals, and the public accepted in exchange for the capital of prestige. Alexander Golovlev (PhD, European University Institute in Florence, 2017) is a senior research fellow at the HSE Institute for Advanced Soviet and Post-Soviet Studies at the University of Moscow. His recent publications include, for New Theatre Quarterly, ‘Theatre Policies of Soviet Stalinism and Italian Fascism Compared, 1920–1940s’ (2019), and ‘Balancing the Books and Staging Operas under Duress: Bolshoi Theatre Management, Wartime Economy, and State Sponsorship in 1941–1945’, Russian History XLVII, No. 4 (2020).","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-04-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48314500","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}