NEW THEATRE QUARTERLY最新文献

{"title":"Relations between Theatre and Power: The Iranian Quarterly Faslnameh Teatr (1977—)","authors":"Fahimeh Najmi","doi":"10.1017/S0266464X22000367","DOIUrl":"https://doi.org/10.1017/S0266464X22000367","url":null,"abstract":"The quarterly journal Faslnameh Teatr has been published in the Iranian capital of Tehran since 1977, although with some interruptions. In a country where, since the Islamic Revolution, systematic efforts have been made to erase any trace of past monarchies, the continued publication of this journal proves to be an extremely rare, if not unique, occurrence. Of course, the prominence of the Ta’zieh ritual gives imposing visibility to the current dominant ideology within Iranian society, and the journal is effective in propagating the desired vision of the ruling Shi’ite power. The journal, then, since its very inception, has been intertwined with the affairs of power and has been consistently used as a tool in the hands of the agents of cultural politics in Iran. It has become the mirror of the country’s highly ideological cultural policy and, as a result, studying it provides knowledge of the fluctuations of culture in general, and of the theatre in particular, in Iran. Fahimeh Najmi is the author of Le Théâtre, l’Iran, et l’Occident (L’Harmattan, 2018) and of articles in Alternatives théâtrales and Registres. Deprived of work in Iran after five years of teaching, including in the Faculty of Art and Architecture of Tarbiat Modares University (TMU) in Tehran, she now lectures and researches in France. She holds a doctorate in Theatre Studies from the Université Sorbonne Nouvelle in Paris.","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"39 1","pages":"50 - 60"},"PeriodicalIF":0.1,"publicationDate":"2023-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46292892","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 1 Cover and Back matter","authors":"","doi":"10.1017/s0266464x22000434","DOIUrl":"https://doi.org/10.1017/s0266464x22000434","url":null,"abstract":"","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":" ","pages":"b1 - b2"},"PeriodicalIF":0.1,"publicationDate":"2023-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44599617","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":"In Interview: Key Features of Contemporary British Drama","authors":"Aleks Sierz, Mesut Günenç","doi":"10.1017/S0266464X22000379","DOIUrl":"https://doi.org/10.1017/S0266464X22000379","url":null,"abstract":"In this interview on 22 March 2022 in London, Mesut Gunenc talks to theatre critic and historian Aleks Sierz about how his work has influenced contemporary British drama, why he chose the name ‘in-yer-face theatre’ for 1990s avant-garde plays, and why some writers have rejected the label. They also discuss the differences between experiential and experimental theatre, especially focusing on the work of Anthony Neilson, and finish by considering the key themes that characterize 1990s new writing in Britain. Aleks Sierz is author of the seminal In-Yer-Face Theatre: British Drama Today (Faber, 2001), as well as of other work about new writing and post-war British theatre history. His more recent books include Rewriting the Nation: British Theatre Today (Methuen Drama, 2011), Modern British Playwriting: The 1990s (Methuen Drama, 2012), and Good Nights Out: A History of Popular British Theatre Since the Second World War (Methuen Drama, 2021). He has co-authored, with Lia Ghilardi, The Time Traveller’s Guide to British Theatre: The First Four Hundred Years (Oberon, 2015). Mesut Gunenc is Assistant Professor in the Department of English Language and Literature at Adnan Menderes University in Turkey. He is the author of Postdramatic Theatrical Signs in Contemporary British Playwrights (Lambert, 2017) and co-editor, with Enes Kavak, of New Readings in British Drama: From the Post-War Period to the Contemporary Era (Peter Lang, 2021). He is currently a visiting postdoctoral scholar at Loughborough University in the UK.","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"39 1","pages":"61 - 68"},"PeriodicalIF":0.1,"publicationDate":"2023-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45720378","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":"Penny Farfan and Lesley Ferris, eds.Critical Perspectives on Contemporary Plays by Women: The Early Twenty-First Century Ann Arbor: University of Michigan Press, 2021. 316 p. $34.95. ISBN: 978-0-472-05435-0.","authors":"Marissia Fragkou","doi":"10.1017/S0266464X22000409","DOIUrl":"https://doi.org/10.1017/S0266464X22000409","url":null,"abstract":"Capturing the hugely diverse body of contemporary plays by women across the globe is an ambitious undertaking, even if the aim is to cover as short a period of time as the first two decades of the twenty-first century. Editors Penny Farfan and Lesley Ferris have approached this task with care, curating a cohesive volume which builds on their collaborative work as part of the American Society for Theatre Research (ASTR) and their previous publication on Contemporary Women Playwrights: Into the Twenty-First Century (Palgrave, 2013). Taking a consciously intersectional approach, this edited collection covers a range of themes such as environmental risk, indigenizing colonial narratives, race and protest, the mythicmigrant, gender, and class-based violence, to mention a few. The geographical scope of the essays is wide-ranging as they bring together playwrights from Argentina, Australia, Austria, Brazil, Canada, Italy, New Zealand (Aotearoa), South Africa, the US, and the UK. Although the majority of plays discussed refer to the UK and North America, the playwrights’ cultural identities reveal the strong cultural heterogeneity of these particular contexts which reflects the volume’s intersectional ethos. The collection is comprised of twenty-eight short essays which are divided into seven sections: replaying the canon, representing histories, staging lives, re-imagining family, navigating communities, articulating intersections, and new world order(s). This curatorial choice sharpens the book’s focus on distinct topics and the aesthetic approaches the playwrights adopt. The thematic frames bring the works discussed into dialogue with past feminist theatre legacies from women’s loaded relationship with the theatrical canon to their exploration of issues of contemporary global importance such as Elfriede Jelinek’s irreverentAm Königsweg [On the Royal Road: The Burgher King] (2017), as analyzed by Sue-Ellen Case. Each essay examines one key play-text with the aim of providing ‘a resource for students at all levels’. This is one of the main strengths of the collection, as it can be readily integrated in undergraduate and postgraduate literature and theatre studies curricula. The essays offer original close readings of the plays in question which have not yet received much scholarly attention, with some due consideration of staging choices. The editors advocate for the creation of ‘a level playing field’ and for this, Ferris’s ‘Afterwords’ section pays a brief tribute to women in theatre, from María Irene Fornés and Elyse Dodgson to Sahar Speaks, in order to conclude with a call to arms for persisting to improve women’s representation in the theatre industry. The book certainly achieves its aimof creating an appetite for discovering hidden and emergent theatrical voices; in doing so, it provides a wealth of material for amplifying the canon of plays encountered in theatre scholarship. Although the term ‘women’ mostly appears as an uncontested identity cat","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"39 1","pages":"82 - 82"},"PeriodicalIF":0.1,"publicationDate":"2023-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49205031","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 Translation of Protest: The Worldwide Readings Project of Andrei Kureichyk’s Insulted. Belarus","authors":"Bryan Brown","doi":"10.1017/S0266464X22000331","DOIUrl":"https://doi.org/10.1017/S0266464X22000331","url":null,"abstract":"On 9 August 2020, Belarus erupted in protest over the falsified election results promoted and endorsed by existing president Aliaksandar Lukashenka. Playwright, director, and member of the Coordination Council for the peaceful transfer of power in Belarus, Andrei Kureichyk was one of the thousands on the streets that month. In early September he finished a new play depicting the events leading up to and surrounding the largest anti-government demonstrations in Belarus’s history. Before going into hiding, Kureichyk sent the play, Insulted. Belarus, to former Russian theatre critic John Freedman for translation. Together, the two men hoped to have a few theatres in various European and North American countries give a reading of the play in solidarity with the people of Belarus. Neither of them expected that, within two months, the play would be translated into eighteen languages and receive over seventy-seven readings on digital platforms. While many companies were eager to add their name to the global ledger of solidarity, the rise of authoritarianism, as well as the renewed reckoning with systemic racism and sexism in many cultures and countries around the world, additionally meant that many theatres found in the play a vehicle to reflect and comment on their own situations. This article, written by one of the initial participants of the project, attempts to chart how the Worldwide Readings of Insulted. Belarus navigated the translation of protest from Belarus to the world. Bryan Brown is Senior Lecturer at the University of Exeter and co-director of visual theatre company ARTEL (American Russian Theatre Ensemble Laboratory) and author of A History of the Theatre Laboratory (Routledge, 2019). He is a member of the editorial board of Theatre Dance and Performance Training, co-editing the special issue ‘Training Places: Dartington College of Arts’ (2018).","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"39 1","pages":"1 - 17"},"PeriodicalIF":0.1,"publicationDate":"2023-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41957397","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":"Antonio Bibbò Irish Literature in Italy in the Era of the World Wars Cham: Palgrave Macmillan, 2022. 304 p. £89.99. ISBN: 978-3-030-83585-9.","authors":"Zsuzsanna Balázs","doi":"10.1017/S0266464X22000410","DOIUrl":"https://doi.org/10.1017/S0266464X22000410","url":null,"abstract":"Capturing the hugely diverse body of contemporary plays by women across the globe is an ambitious undertaking, even if the aim is to cover as short a period of time as the first two decades of the twenty-first century. Editors Penny Farfan and Lesley Ferris have approached this task with care, curating a cohesive volume which builds on their collaborative work as part of the American Society for Theatre Research (ASTR) and their previous publication on Contemporary Women Playwrights: Into the Twenty-First Century (Palgrave, 2013). Taking a consciously intersectional approach, this edited collection covers a range of themes such as environmental risk, indigenizing colonial narratives, race and protest, the mythicmigrant, gender, and class-based violence, to mention a few. The geographical scope of the essays is wide-ranging as they bring together playwrights from Argentina, Australia, Austria, Brazil, Canada, Italy, New Zealand (Aotearoa), South Africa, the US, and the UK. Although the majority of plays discussed refer to the UK and North America, the playwrights’ cultural identities reveal the strong cultural heterogeneity of these particular contexts which reflects the volume’s intersectional ethos. The collection is comprised of twenty-eight short essays which are divided into seven sections: replaying the canon, representing histories, staging lives, re-imagining family, navigating communities, articulating intersections, and new world order(s). This curatorial choice sharpens the book’s focus on distinct topics and the aesthetic approaches the playwrights adopt. The thematic frames bring the works discussed into dialogue with past feminist theatre legacies from women’s loaded relationship with the theatrical canon to their exploration of issues of contemporary global importance such as Elfriede Jelinek’s irreverentAm Königsweg [On the Royal Road: The Burgher King] (2017), as analyzed by Sue-Ellen Case. Each essay examines one key play-text with the aim of providing ‘a resource for students at all levels’. This is one of the main strengths of the collection, as it can be readily integrated in undergraduate and postgraduate literature and theatre studies curricula. The essays offer original close readings of the plays in question which have not yet received much scholarly attention, with some due consideration of staging choices. The editors advocate for the creation of ‘a level playing field’ and for this, Ferris’s ‘Afterwords’ section pays a brief tribute to women in theatre, from María Irene Fornés and Elyse Dodgson to Sahar Speaks, in order to conclude with a call to arms for persisting to improve women’s representation in the theatre industry. The book certainly achieves its aimof creating an appetite for discovering hidden and emergent theatrical voices; in doing so, it provides a wealth of material for amplifying the canon of plays encountered in theatre scholarship. Although the term ‘women’ mostly appears as an uncontested identity cat","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"39 1","pages":"82 - 83"},"PeriodicalIF":0.1,"publicationDate":"2023-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46024275","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":"Critical Disengagement: The Epistemic and White Supremacist Violence of Theatre Criticism in Canada and the USA","authors":"Signy Lynch, Michelle MacArthur","doi":"10.1017/S0266464X22000355","DOIUrl":"https://doi.org/10.1017/S0266464X22000355","url":null,"abstract":"This article examines recent controversies sparked by the critical reception of work by Global Majority theatre artists in Canada and the USA, including Yolanda Bonnell, Yvette Nolan, and Antoinette Nwandu. It argues that, when faced with works that fall outside of their presumed expertise and experience, critics commonly resort to a strategy of critical disengagement, which displaces the focus from the work and refuses to evaluate it on its own terms. Through an analysis of case studies, we elucidate the concept of critical disengagement and its three distinct categories, ‘othering,’ ‘imposing’, and ‘self-staging’. These acts are representative of larger patterns in dominant theatre criticism practices, which are descended from neoclassical and Enlightenment formulations of criticism, and centre around the ideals of fair judgement and critical objectivity. When applied to the work of Global Majority theatre artists by a largely white critical establishment, they enact, consolidate, and reproduce what Gayatri Spivak calls epistemic violence. During this pivotal moment, as theatre communities in the Global North respond to calls for racial justice and decolonization, this article sheds light on the often overlooked role of criticism in sustaining white supremacy within theatre production and reception, and stresses the urgent need to re-imagine critical practices. Signy Lynch is a postdoctoral research fellow at the University of Toronto Mississauga and recipient of the Governor General’s Gold Medal (York University, 2022). She has published articles on theatre criticism and intercultural theatre in Contemporary Theatre Review, Canadian Theatre Review, and Theatre Research in Canada. Michelle MacArthur is associate professor at the University of Windsor’s School of Dramatic Art. She has published articles in Contemporary Theatre Review, Journal of Dramatic Theory and Criticism, Theatre Research in Canada, Canadian Theatre Review, and several edited volumes. She is the editor of Voices of a Generation: Three Millennial Plays (Playwrights Canada Press, 2022).","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"39 1","pages":"34 - 49"},"PeriodicalIF":0.1,"publicationDate":"2023-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46310164","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":"Seeing it Feelingly: On Affect and Bodyworld in Performance","authors":"Frank Camilleri","doi":"10.1017/S0266464X22000380","DOIUrl":"https://doi.org/10.1017/S0266464X22000380","url":null,"abstract":"In this article, the performing body is considered via a three-pronged approach involving affect theory and affective science, a scene from King Lear, and long-distance running. Inspired by the chiaroscuro of painting, this variety and mix of sources act as a methodological device to shed unfamiliar light (and shade) on the elusive topic of affect. While ‘body’ is viewed from the perspective of ‘bodyworld’ to denote constitutive and reciprocally shaping human–nonhuman relationalities, the ‘performance’ that occurs in bodies is analyzed in terms of a ‘drama of affect’ to signal the activity that germinates and circulates at various levels of consciousness in human behaviour, whether aesthetic, athletic, or daily. Frank Camilleri is Professor of Theatre Studies at the University of Malta and Artistic Director of Icarus Performance Project. He has performed, given workshops, and published various texts on performer training, theatre as a laboratory, and practice as research. He is the author of Performer Training Reconfigured: Post-Psychophysical Perspectives for the Twenty-first Century (Bloomsbury, 2019) and Performer Training for Actors and Athletes (Bloomsbury, forthcoming).","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"39 1","pages":"69 - 80"},"PeriodicalIF":0.1,"publicationDate":"2023-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45362559","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 1 Cover and Front matter","authors":"","doi":"10.1017/s0266464x22000422","DOIUrl":"https://doi.org/10.1017/s0266464x22000422","url":null,"abstract":"","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"39 1","pages":"f1 - f4"},"PeriodicalIF":0.1,"publicationDate":"2023-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43445801","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":"‘Droughts and Flooding Rains’: Ecology and Australian Theatre in the 1950s","authors":"D. Varney","doi":"10.1017/S0266464X22000239","DOIUrl":"https://doi.org/10.1017/S0266464X22000239","url":null,"abstract":"This article uses historical-ecological insights for a re-reading of two little-known mid-twentieth-century Australian plays, Oriel Gray’s The Torrents and Eunice Hanger’s Flood, which highlight developments relevant to the environmental disasters of today. In particular, the article focuses on the significance of key cultural assumptions embedded in the texts – and a revival of The Torrents in 2019 – including those to do with land use in a period of accelerating development. This approach offers new insights into the dominance of mining, irrigation, and dam-building activities within the Australian ethos, landscape, and economy. One of these insights is the framing of development as progressive. The article thus also examines how development projected as progressive takes place amid the continuing denial of prior occupation of the land by First Nations peoples and of knowledge systems developed over thousands of years. The intersectional settler-colonialist-ecocritical approach here seeks to capture the compounding ecosystem that is modern Australian theatre and its critique. The intention is not to apply revisionist critiques of 1950s plays but to explore the historical relationship between humans, colonialism, and the physical environment over time. Denise Varney is Professor of Theatre Studies in the School of Culture and Communication at the University of Melbourne. Her research is in modern and contemporary theatre and performance, with published work in the areas of ecocriticism, feminism, and Australian theatre. Her most recent book is Patrick White’s Theatre: Australian Modernism on Stage 1960–2018 (Sydney University Press, 2021).","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"38 1","pages":"319 - 332"},"PeriodicalIF":0.1,"publicationDate":"2022-10-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44407431","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}