{"title":"In Conversation in Apocalyptic Times","authors":"Yury Butusov, Maria Shevtsova","doi":"10.1017/s0266464x23000222","DOIUrl":"https://doi.org/10.1017/s0266464x23000222","url":null,"abstract":"<p>Undoubtedly one of the most prominent and most important Russian directors of the past two decades, Yury Butusov here refers to several landmarks of his artistic trajectory, gradually revealing a sense of <span>oeuvre</span>, of a body of work connected by a distinctive worldview. Not all of his productions of exceptional significance are cited here, and <span>Flight</span> (2015), at the Vakhtangov Theatre in Moscow, not having found its rightful place here, appears separately at the end. This Conversation, while intentionally taking a wide perspective, nevertheless focuses on production details so as to foreground various artistic qualities that distinguish his approach. Butusov discusses at some length what constitutes his directorial method and methodology, stressing, above all, the primacy of creative freedom for his actors and himself from which emerge complex and highly charged theatre constructions. Butusov, who is against war as such, speaks of his position on the Russian-Ukrainian war, which led to his resignation in 2018 from the artistic directorship of the Lensoviet Theatre in St Petersburg. He became Principal Director of the Vakhtangov, alongside the acclaimed Rimas Tuminas, Artistic Director of this theatre. Tuminas resigned from his post in spring 2022. Butusov and his family left Russia for Paris, and Butusov resigned from the Vakhtangov in November 2022. His production of Tom Stoppard’s <span>Rosencrantz and Guildenstern are Dead</span> is to be premiered at the Russian- and Lithuanian-speaking Vilnius Old Theatre in September 2023. This conversation took place on 23 March and 27 April 2023 on Zoom, and was translated from the Russian and edited by Maria Shevtsova.</p>","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"45 11","pages":""},"PeriodicalIF":0.1,"publicationDate":"2023-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71517997","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 39 issue 4 Cover and Front matter","authors":"","doi":"10.1017/s0266464x23000210","DOIUrl":"https://doi.org/10.1017/s0266464x23000210","url":null,"abstract":"An abstract is not available for this content so a preview has been provided. As you have access to this content, a full PDF is available via the ‘Save PDF’ action button.","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"1 3","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135564924","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 39 issue 4 Cover and Back matter","authors":"","doi":"10.1017/s0266464x23000301","DOIUrl":"https://doi.org/10.1017/s0266464x23000301","url":null,"abstract":"An abstract is not available for this content so a preview has been provided. As you have access to this content, a full PDF is available via the ‘Save PDF’ action button.","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"17 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135565134","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":"Aleks Sierz Good Nights Out: A History of Popular British Theatre, 1940–2015 London: Methuen, 2020. 228 p. £90. ISBN 978-1-350046-21-4.","authors":"Maggie B. Gale","doi":"10.1017/s0266464x23000295","DOIUrl":"https://doi.org/10.1017/s0266464x23000295","url":null,"abstract":"An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"5 4","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135564907","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":"Decolonization and Theatre History","authors":"Rashna Darius Nicholson","doi":"10.1017/s0266464x2300026x","DOIUrl":"https://doi.org/10.1017/s0266464x2300026x","url":null,"abstract":"‘Decolonization’ has superseded ‘postcolonial’ as the most compelling catchword of the present moment. Broadly speaking, the term possesses two parallel genealogies: African decolonization and Latin American decoloniality. But where are Asian territories such as India and Hong Kong, and, more specifically, fields such as theatre history, located in the debate? This article analyzes the stakes and struggles, inner contradictions and blind spots, involved in decolonizing or decentring the curriculum. It asks whether the decolonial temporalities of our time constitute an adequate lens to theorize theatre history by firstly examining the term’s misuse by popular historians, media, and government; and, second, by interrogating a spectrum of positions on ‘Indian Theatre’ from the nineteenth century onwards. Through this double focus, the article probes the scholarly possibilities for undoing the dominant mode when the ‘decolonization trope itself becomes a tool for colonization’.","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"16 4","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135565136","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":"Peta Tait Forms of Emotion: Human to Nonhuman in Drama, Theatre, and Contemporary Performance London and New York: Routledge, 2022. 255 p. £96. ISBN 978-0-367-64497-0.","authors":"Una Bauer","doi":"10.1017/s0266464x23000283","DOIUrl":"https://doi.org/10.1017/s0266464x23000283","url":null,"abstract":"An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"28 3","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135564252","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":"Risky Hitchhiking, and Other Stories about the Theatre of the Eighth Day","authors":"Juliusz Tyszka","doi":"10.1017/S0266464X23000143","DOIUrl":"https://doi.org/10.1017/S0266464X23000143","url":null,"abstract":"Teatr Ósmego Dnia (the Theatre of the Eighth Day), established in Poznań in 1964, was a part of Polish student theatre. Between 1976 and 1981, it became one of the most important companies in the history of the Polish theatre, producing several masterpieces. It also became a legendary grouping of democratic, anti-communist opposition. The persecution it was subjected to was caused by censorship, the secret police, and the administration at all levels. However, the members of the group managed to overcome everyday fear, face the totalitarian authorities openly, and create unforgettable artistic works. Four of them, who belonged to the group from the early 1970s, still maintain the ethical principles and artistic strategies adopted at that time, and thus now clash with the ideology of the current ruling administration, which is the right-wing Law and Justice Party.","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"39 1","pages":"243 - 261"},"PeriodicalIF":0.1,"publicationDate":"2023-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46719898","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":"‘Generational Drag’: All-Child Performances in the Seventeenth and Nineteenth Centuries in Britain","authors":"Katie Knowles","doi":"10.1017/S0266464X23000106","DOIUrl":"https://doi.org/10.1017/S0266464X23000106","url":null,"abstract":"Separated by almost three hundred years and by significant developments in the construction of childhood as an identity distinct from adulthood, the early seventeenth and late nineteenth centuries stand out as periods of intense and popular activity by child actors, and specifically by companies of child actors who played adult roles and deliberately juxtaposed the age categories of performer and character. While much excellent period-specific work has been accomplished during the last twenty years on early modern boy actors and on the ‘infant phenomena’ of the Victorian stage, there has as yet been no attempt to compare children’s professional performance during these two periods. This article contrasts the repertoire of the boy companies of Jacobean London with that of the children’s opera companies who toured the UK and Ireland throughout the 1880s performing comic operas such as H.M.S. Pinafore and Les Cloches de Corneville. It also explores what it meant for children to perform as adults during these two periods, and what the latter reveals about the historical construction and policing of age categories.","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"39 1","pages":"181 - 199"},"PeriodicalIF":0.1,"publicationDate":"2023-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44158017","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}