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Augmented Reality and Theatre 增强现实与戏剧
IF 0.5 3区 艺术学
THEATRE JOURNAL Pub Date : 2024-07-23 DOI: 10.1353/tj.2024.a932167
E. B. Hunter
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引用次数: 0
Macbeth by William Shakespeare (review) 威廉-莎士比亚的《麦克白》(评论)
IF 0.5 3区 艺术学
THEATRE JOURNAL Pub Date : 2024-07-23 DOI: 10.1353/tj.2024.a932173
Paul Innes
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引用次数: 0
Stereophonic by David Adjmi (review) 大卫-阿杰米的《立体声》(评论)
IF 0.5 3区 艺术学
THEATRE JOURNAL Pub Date : 2024-07-23 DOI: 10.1353/tj.2024.a932169
Elizabeth L. Wollman
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引用次数: 0
Shakespeare and Latinidad ed. by Trevor Boffone and Carla Della Gatta (review) Shakespeare and Latinidad ed. by Trevor Boffone and Carla Della Gatta (review)
IF 0.5 3区 艺术学
THEATRE JOURNAL Pub Date : 2024-07-23 DOI: 10.1353/tj.2024.a932181
Dennis Sloan
{"title":"Shakespeare and Latinidad ed. by Trevor Boffone and Carla Della Gatta (review)","authors":"Dennis Sloan","doi":"10.1353/tj.2024.a932181","DOIUrl":"https://doi.org/10.1353/tj.2024.a932181","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Shakespeare and Latinidad</em> ed. by Trevor Boffone and Carla Della Gatta <!-- /html_title --></li> <li> Dennis Sloan </li> </ul> <em>SHAKESPEARE AND LATINIDAD</em>. Edited by Trevor Boffone and Carla Della Gatta. Edinburgh: Edinburgh University Press, 2021; pp. 236. <p>In <em>Shakespeare and Latinidad</em>, editors Trevor Boffone and Carla Della Gatta join twenty-three additional contributors to highlight the underexamined relationship between Shakespeare and Latine theatre. Building on Della Gatta’s earlier work on the subject, which itself extends Bernice Kilman and Rick J. Santos’s research on Latin American Shakespeares, this volume argues that studies of Latine theatre and the production of Shakespeare in the United States are inextricably intertwined. Citing the growing number of artists and productions that adapt or reimagine the Shakespearean canon using Latine methods and perspectives, Boffone and Della Gatta contend that any discussion of either is incomplete without consideration of the other.</p> <p>Boffone and Della Gatta structure <em>Shakespeare and Latinidad</em> in an introduction followed by four parts, each of which features four to six essays of varying lengths and methodologies. While some pieces, including Katherine Gillen and Adrianna M. Santos’s “The Power of Borderlands Shakespeare: Seres Jaime Magaña’s <em>The Tragic Corrido of Romeo and Lupe</em>,” offer heavily sourced theoretical explorations, others, such as Migdalia Cruz’s “What I Learned from My Shakespeare Staycation with <em>Macbeth</em> and <em>Richard III</em>,” provide richly personal accounts of the authors’ individual production experiences. This combination is one of the book’s strengths, even if the editors’ delineation between “scholars” and “artists” seems somewhat outdated.</p> <p>Gillen and Santos’s essay appears in part 1, “Shakespeare in the US Latinx Borderlands.” This section explores how Latine artists use the US-Mexico border, as well as borders between languages, cultures, and genres, to challenge Anglo ownership of Shakespeare’s works in ways that trouble broader colonial and hegemonic structures and make space for diverse epistemologies. In “Passion’s Slave: Reminiscences on Latinx Shakespeares in Performance,” Frankie J. Alvarez recounts his experiences as a Latine actor performing in Shakespeare’s <em>Measure for Measure</em> and in a bilingual production of Nilo Cruz’s <em>Hamlet: Prince of Cuba</em>. In “<em>¡O Romeo!</em> Shakespeare on the Altar of Día de los Muertos,” Olga Sanchez Salt-veit describes the process of devising and directing a production for a two-year Shakespeare celebration in Portland, Oregon. Faced with combining the celebration’s goals with Milagro Theatre’s commitment to showcasing Latine playwrights, Sanchez Saltveit brought together disparate characters from acros","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2024-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141750236","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
To the Life: Resurrection and Presence in The Second Maiden's Tragedy, Hamlet, and Fat Ham 为了生命第二少女的悲剧》、《哈姆雷特》和《胖火腿》中的复活与存在
IF 0.5 3区 艺术学
THEATRE JOURNAL Pub Date : 2024-07-23 DOI: 10.1353/tj.2024.a932166
Lauren Robertson
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引用次数: 0
Watch Night by Marc Bamuthi Joseph (review) 观看马克-巴穆提-约瑟夫的《夜》(评论)
IF 0.5 3区 艺术学
THEATRE JOURNAL Pub Date : 2024-07-23 DOI: 10.1353/tj.2024.a932177
Sonja Arsham Kuftinec
{"title":"Watch Night by Marc Bamuthi Joseph (review)","authors":"Sonja Arsham Kuftinec","doi":"10.1353/tj.2024.a932177","DOIUrl":"https://doi.org/10.1353/tj.2024.a932177","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Watch Night</em> by Marc Bamuthi Joseph <!-- /html_title --></li> <li> Sonja Arsham Kuftinec </li> </ul> <em>WATCH NIGHT</em>. Co-conceived and libretto by Marc Bamuthi Joseph. Co-conceived and directed by Bill T. Jones. Music by Tamar-kali. Perelman Performing Arts Center, New York. November 12, 2023. <p>Where are we? A marbled cube of cultural life in lower Manhattan, Perelman Performing Arts Center (PAC NYC) rises luminous and opaque across from the 9/11 Memorial site. There, in the footprints of the Twin Towers, two voids sink into concrete through layers of trade history. That memorial, <em>Reflecting Absence</em>, is designed to stop business-as-usual, to prompt meditation on collective loss. Yet the memorial, alongside the genre-defying performance of <em>Watch Night</em> that took place in November 2023, prompts difficult questions. Whose violent deaths do we choose to remember and how? For PAC NYC’s inaugural season, Artistic Director Bill Rauch commissioned choreographer Bill T. Jones and spoken-word artist Marc Bamuthi Joseph to create a piece that reckoned with racialized violence. Rooted in multiple perspectives and genres, <em>Watch Night</em> wrestled with conundrums that refuse easy resolutions.</p> <p>In its very title, <em>Watch Night</em> pays homage to a dialectic of enslavement and liberation. The historical Watch Night, New Year’s Eve 1862, anticipated emancipation, marking both prophetic release and weighty reflection. Jones and Joseph’s composition draws on these energies while inquiring still further into the nature of forgiveness and redemption amid Super/Natural energies and a shifting Echo Chamber Chorus. In this way, <em>Watch Night</em> resists easy categorization. In part, the piece reflects on the dual tragedies of racially motivated slaughter in sacred spaces: the 2015 murder of congregants at the Emanuel African Methodist Episcopal Church in Charleston and the 2018 massacre at the Tree of Life synagogue in Pittsburgh. Yet <em>Watch Night</em> is not a documentary account. The congregations are fictionalized, and we are led through the events of the piece by a flawed Black Jewish journalist as well as a lone white Wolf. The dramaturgy moves forward in time while also being pulled into memory. Scenes split, echo, repeat. There are beats of story as well as percussive pulses of energy. Ostinatos and choreographic returns. Jones defines himself as a postmodern artist, concerned less with narrative cohesion than with the rigorous play of ideas in a form that embraces classical opera, everyday movement, and displays of hip-hop-inspired virtuosity. Joseph is a spoken-word artist who self-identifies as a “code surfer” rather than a code-switcher. In his libretto, references to the “Parable of the Sower” point to the Book of Matthew as well as to Black futurist author Oct","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2024-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141750299","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
Root Beer Lady the Musical by Barbara Cary Hall (review) 芭芭拉-卡里-霍尔创作的音乐剧《根啤女士》(评论)
IF 0.5 3区 艺术学
THEATRE JOURNAL Pub Date : 2024-07-23 DOI: 10.1353/tj.2024.a932176
Eero Laine
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引用次数: 0
Marginality Beyond Return: Us Cuban Performances in the 1980s and 1990s by Lillian Manzor (review) Marginality Beyond Return:Lillian Manzor 撰写的《20 世纪 80 年代和 90 年代我们古巴的表演》(评论)
IF 0.5 3区 艺术学
THEATRE JOURNAL Pub Date : 2024-07-23 DOI: 10.1353/tj.2024.a932186
Eric Mayer-García
{"title":"Marginality Beyond Return: Us Cuban Performances in the 1980s and 1990s by Lillian Manzor (review)","authors":"Eric Mayer-García","doi":"10.1353/tj.2024.a932186","DOIUrl":"https://doi.org/10.1353/tj.2024.a932186","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Marginality Beyond Return: Us Cuban Performances in the 1980s and 1990s</em> by Lillian Manzor <!-- /html_title --></li> <li> Eric Mayer-García </li> </ul> <em>MARGINALITY BEYOND RETURN: US CUBAN PERFORMANCES IN THE 1980s AND 1990s</em>. By Lillian Manzor. Routledge Advances in Theatre &amp; Performance Studies. London: Routledge, 2023; pp. 321. <p>Lillian Manzor’s <em>Marginality beyond Return: US Cuban Performances in the 1980s and 1990s</em> is the first critical book dedicated to Cuban theatre in the US. As Manzor recounts in the acknowledgements, this project began in 1990 during a conversation between the author and two playwrights outside the Duo Theatre in New York. That conversation <strong>[End Page 255]</strong> shifted her approach and quickly led to one of her first publications, in <em>GESTOS</em>, where she introduced early versions of several of the concepts and questions she considers in this present work. Fast forward to 2023, Manzor’s long-awaited monograph on US Cuban theatre, <em>Marginality beyond Return</em>, is the culmination of many years of careful thought, presentations, and publications on the subjects therein. The author makes several field-changing interventions, including introducing the term “US Cuban,” a hybrid identity-in-difference distinct from Cuban American. As Manzor argues, US Cuban playwrights did not conform to the paradigm of multiculturalism that opened opportunities in equity theatres during the decades of the Hispanic and the Latino. Rather, their plays presented latinidad as the antithesis to the homogeneous, commodifiable, and interchangeable Other multiculturalism sought to interpellate. The author’s historiography questions narratives of Latine theatre since the 1960s that associate its beginnings with community-based activism alone. Finally, Manzor calls for the continued development of Latine theatre archives, interdisciplinary and transnational research methods, and collaboration with artists in theatre research. The persuasive force behind Manzor’s arguments and her meticulously researched historiography is the archives she has assembled over the last three decades, working with artists to donate and with archivists to process collections in the Cuban Theater Digital Archive and the Cuban Heritage Collection at the University of Miami Libraries.</p> <p>Distinguishing her subjects from Cuban Americans, Manzor introduces the term “US Cuban,” which builds on the theories of Norma Alarcón and other Third World feminists to name a hybrid identity-in-difference. In presenting several case studies, Manzor forges a dynamic interdisciplinary discourse to theorize the cultural production of an “ensemble” of border-crossed—<em>atrevesados</em>, in Gloria Anzaldúa’s sense of the term—US Cuban artists whose theatre makes visible the hybrid, the abject, th","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2024-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141755404","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
Tom Stoppard In Context ed. by David Kornhaber and James N. Loehlin (review) Tom Stoppard In Context ed. by David Kornhaber and James N. Loehlin (review)
IF 0.5 3区 艺术学
THEATRE JOURNAL Pub Date : 2024-07-23 DOI: 10.1353/tj.2024.a932183
Katherine Weiss
{"title":"Tom Stoppard In Context ed. by David Kornhaber and James N. Loehlin (review)","authors":"Katherine Weiss","doi":"10.1353/tj.2024.a932183","DOIUrl":"https://doi.org/10.1353/tj.2024.a932183","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Tom Stoppard In Context</em> ed. by David Kornhaber and James N. Loehlin <!-- /html_title --></li> <li> Katherine Weiss </li> </ul> <em>TOM STOPPARD IN CONTEXT</em>. Edited by David Kornhaber and James N. Loehlin. Literature in Context Series. Cambridge: Cambridge University Press, 2021; pp. 269. <p><em>Tom Stoppard in Context</em>, a collection of thirty-one short essays, is part of Cambridge University Press’s Literature in Context series aimed to enhance its readers’ appreciation of an author by providing the “literary, political, intellectual, social and cultural” context that has “bearing on his or her work,” as noted on the publisher’s website. To help the reader navigate the “context” provided in this particular volume, editors David Kornhaber and James Loehlin have grouped the essays in six parts: Origins; Influences; Ideas; Aesthetics; Politics; and Page, Stage, and Screen. The volume’s many contributors help to paint a portrait of Stoppard as one of Britain’s eminent playwrights, whose conservatism and extraordinary wit continues to win over audiences.</p> <p>Stoppard emerges as a deeply intelligent writer and thinker, engaged in big ideas. Parts 3 (“Ideas”) and 5 (“Politics”) examine the ways in which Stop-pard incorporates philosophical, historical, scientific, and mathematical concepts in his plays. Many of the chapters come to a similar conclusion: that Stoppard’s interest in big ideas, despite his lack of a university education, is astonishing. Thankfully, his use of these ideas is not academic. Kornhaber, in chapter 10, sums up Stoppard’s use of analytic philosophy, writing that Stoppard saw “the philosophical potential” of “theatre itself, a potential he often saw as lacking in academic philosophy: the potential to contemplate what it actually means to be human” (87). William W. Demastes takes Stop-pard’s use of ideas a step further, arguing that scientific thought provides the playwright with the very questions of “behavioural consequences” (92), which evolutionary science attempts to answer. For Demastes, Stoppard is content with those questions remaining unanswered.</p> <p>Part 2, “Influences,” includes chapters on Stop-pard’s debt to Russian literature, William Shakespeare, Oscar Wilde, and Samuel Beckett—the usual suspects and hardly surprising for anyone familiar with Stoppard’s plays. What is surprising, though, is just how often Beckett appears in the book. In addition to Kersti Tarien Powell’s essay, “Samuel Beckett” (chapter 8), the Irish writer appears in all six sections of the book. His presence outdoes Shakespeare’s and Wilde’s. However, in most chapters in which Beckett appears, the discussion amounts to a brief pointing to Stoppard’s debt to Beckett as seen in <em>Rosencrantz and Guildenstern Are Dead</em>. What sets Powell’s chapter apart is that her exploration ","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2024-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141750241","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
Die Zauberflöte by Wolfgang Amadeus Mozart (review) 莫扎特的《魔笛》(评论)
IF 0.5 3区 艺术学
THEATRE JOURNAL Pub Date : 2024-07-23 DOI: 10.1353/tj.2024.a932171
Joseph A. Heissan Jr.
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