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Death's Futurity: The Visual Life Of Black Power by Sampada Aranke (review) 死亡的未来:桑帕达-阿兰克著的《黑人力量的视觉生活》(评论)
IF 0.5 3区 艺术学
THEATRE JOURNAL Pub Date : 2024-01-18 DOI: 10.1353/tj.2023.a917493
Les Gray
{"title":"Death's Futurity: The Visual Life Of Black Power by Sampada Aranke (review)","authors":"Les Gray","doi":"10.1353/tj.2023.a917493","DOIUrl":"https://doi.org/10.1353/tj.2023.a917493","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>Death’s Futurity: The Visual Life Of Black Power</em> by Sampada Aranke <!-- /html_title --></li> <li> Les Gray </li> </ul> <em>DEATH’S FUTURITY: THE VISUAL LIFE OF BLACK POWER</em>. By Sampada Aranke. Durham, NC: Duke University Press, 2023; pp. 186 <p>Sampada Aranke’s <em>Death’s Futurity: The Visual Life of Black Power</em> closely reads a group of cultural objects and ephemera circulating around the lives and murders of three notable Black Panther Party (BPP) for Self-Defense members: Bobby Hutton, Fred Hampton, and George Jackson. Aranke attends to undertheorized and under-historicized art objects while drawing supplemental support from Fanon to Foucault. These theorists help her develop her argument and were interlocuters for the three BPP members upon whom she focuses. Conversant in Black cultural studies, performance studies, and general critical theory, Aranke uses material culture and art to prove how visual life of Black power is activated through Black radical death“(4). The book begins from the premise that in the United States (and globally), Black death, Black liberation, and Black art are not only intimately linked and referential, but also constitutive of each other. Aranke details how state terror and the disciplining of Black bodies provoked the Black Panther Party for Self-Defense to utilize Black radical aesthetics in response to the banal yet generative spectacle of Black revolutionary death. While her text concerns itself with objects, it is also attuned to the technologies that allowed for iterative reproduction and distribution of images to “mobilize a revolutionary future” (23). Aranke’s study unites bodies and objects as they move socially, spatially, and temporally in order to construct a multivalent consideration of the archive and its limited capacity to preserve Black life.</p> <p>Aranke’s object lessons related to Hutton, Hampton, and Jackson range from images printed in BPP newspapers to the books authored or read by the revolutionaries. She centers Black embodiment, “politicized looking,” and the production of fugitive imaginaries which were intentionally deployed by Black cultural producers to mobilize masses. For Aranke, this kind of gaze destabilizes and clarifies one’s relationship to the murder of Black radical subjects as it demands viewers “slow down the process of image consumption in order to see the conditions through which life, and in this case death, occurs at an uneven, disjunctive, and violent level against Black people” (87). Aranke enacts readings of fugitive imaginaries within a frame of ongoing domestic warfare in relationship to the bodies and objects discussed in her book.</p> <p><em>Death’s Futurity</em> details an interconnected network of Black radicals and lays the foundation for a conclusion that extends into today as Aranke links early ","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2024-01-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139489823","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
Inés De Ulloa by Sergio Rubio (review) 伊内斯-德乌略亚,塞尔吉奥-卢比奥著(评论)
IF 0.5 3区 艺术学
THEATRE JOURNAL Pub Date : 2024-01-18 DOI: 10.1353/tj.2023.a917488
Victoria Jane Rasbridge
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引用次数: 0
Earthworks Rising: Mound Building In Native Literature And Arts by Chadwick Allen (review) 土丘崛起:查德威克-艾伦(Chadwick Allen)撰写的《土墩建筑在土著文学和艺术中的应用》(评论
IF 0.5 3区 艺术学
THEATRE JOURNAL Pub Date : 2024-01-18 DOI: 10.1353/tj.2023.a917494
Lilian Mengesha
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引用次数: 0
(Not So) Minor Encounters: Little Amal from The Jungle to The Walk (不大不小的邂逅:从丛林到散步》中的小阿玛尔
IF 0.5 3区 艺术学
THEATRE JOURNAL Pub Date : 2024-01-18 DOI: 10.1353/tj.2023.a917481
Suhaila Meera
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引用次数: 0
John Proctor is the Villain by Kimberly Belflower, and: The Good John Proctor by Talene Monahon (review) 约翰-普卡特是恶棍》,作者金伯利-贝尔弗劳尔;以及好约翰-普卡特》,作者 Talene Monahon(评论)
IF 0.5 3区 艺术学
THEATRE JOURNAL Pub Date : 2024-01-18 DOI: 10.1353/tj.2023.a917487
Sean F. Edgecomb
{"title":"John Proctor is the Villain by Kimberly Belflower, and: The Good John Proctor by Talene Monahon (review)","authors":"Sean F. Edgecomb","doi":"10.1353/tj.2023.a917487","DOIUrl":"https://doi.org/10.1353/tj.2023.a917487","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>John Proctor is the Villain</em> by Kimberly Belflower, and: <em>The Good John Proctor</em> by Talene Monahon <!-- /html_title --></li> <li> Sean F. Edgecomb </li> </ul> <em>JOHN PROCTOR IS THE VILLAIN</em>. By Kimberly Belflower. Directed by Marti Lyons. Studio Theatre, Washington D.C. May 12, 2022. <em>THE GOOD JOHN PROCTOR</em>. By Talene Monahon. Directed by Caitlin Sullivan. Bedlam Theatre Company at the Connelly Theater, New York. March 30, 2023. <p>The past year saw productions of two original plays inspired by Arthur Miller’s <em>The Crucible</em>: Kimberly Belflower’s <em>John Proctor is the Villain</em> and Talene Monahon’s <em>The Good John Proctor.</em> In their exciting scripts, Belflower and Monahon respond to how Miller’s play pulled the focus from women (particularly the adolescent girls who acted as accusers in the story), to center and sanctify the character of John Proctor. Proctor is considered a “modern tragic hero” and a paragon of integrity by a slew of literary critics.</p> <p>Belflower and Monahon present contemporary feminist narratives that recenter women while helping to fill in the gaps that remain in official, patriarchal histories of the Salem Witch Trials. In this sense, the female characters in both plays engage in a kind of witchcraft—not as a religious practice, but rather as redefined by Sylvia Frederici as a “transfer of [feminist] knowledge.” Both playwrights engage a feminist perspective to question John Proctor’s character—but with different, equally dynamic approaches.</p> <p>Belflower uses a high school class studying <em>The Crucible</em> to resurrect and embody the women failed by Proctor in Miller’s play, namely Abigail Williams and Elizabeth Proctor, as a commentary on the #MeToo movement. In contrast, Monahon returns to the seventeenth century and reimagines the period that led to Salem’s witch hysteria. Playing with contemporary language to show how Abigail Williams and her younger cousin Betty (both central to Miller’s narrative), were forced into their situation, Monahon exposes a world where Puritan superstition, draconian rules, and rampant misogyny grounded in religious fervor ensured that women in 1692 Salem were denied authority, voice, and freedom.</p> <p>Miller wrote <em>The Crucible</em> as a theatrical excoriation of the Red Scare in the United States, taking up fear of witches as an allegory of McCarthyism. The play remains a widely produced fictionalization of real-life events, and while it was never Miller’s intention to write an accurate account of the Trials, <em>The Crucible</em> has undoubtedly become the interpretation encountered by most people. Such confusion is exacerbated by an ongoing cultural obsession with Salem’s witchy history, which has in turn inspired a variety of adaptations of the story that are more often interested","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2024-01-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139489815","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
Stumped by Shomit Dutta (review) 肖米特-杜塔的《一筹莫展》(评论)
IF 0.5 3区 艺术学
THEATRE JOURNAL Pub Date : 2024-01-18 DOI: 10.1353/tj.2023.a917485
Annette Balaam
{"title":"Stumped by Shomit Dutta (review)","authors":"Annette Balaam","doi":"10.1353/tj.2023.a917485","DOIUrl":"https://doi.org/10.1353/tj.2023.a917485","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>Stumped</em> by Shomit Dutta <!-- /html_title --></li> <li> Annette Balaam </li> </ul> <em>STUMPED</em>. By Shomit Dutta. Directed by Guy Unsworth. Original Theatre Online. Live streamed from Lord’s Cricket Ground, St. John’s Wood, London. October 2, 2022. <p>On screen, a box set opened the play slowly spinning on its axis in a void of black space, exposing its sides, roof and base before temporarily settling in the frontal perspective characteristic of conventional theatre. In a boundary-breaking hybrid live/online production of Shomit Dutta’s new play <em>Stumped</em>, Original Theatre Online displayed other three-dimensional viewpoints of the moving image in a methodology that not only explored the digital screen as a liminal zone with no fixed or determined a priori conditions of space, time and causality, but also reconceived, repurposed and politicized the ontological instability of the in-screen viewer within this liminal landscape between the live and the online, opening up new discursive and political possibilities for the digital screen.</p> <p><em>Stumped</em> is a darkly comic play that imagines the two cricket-obsessed Nobel Prize winners Samuel Beckett (Stephen Tompkinson) and Harold Pinter (Andrew Lancel) as waiting batsmen in a brilliantly witty spin on <em>Waiting for Godot</em> and <em>The Dumb Waiter</em>. Act One is set on the balcony of the pavilion, and Act Two finds them on the village green drunkenly waiting for a lift from a stranger called ‘Doggo’ who may never come.</p> <p>Filmed live from the home of English cricket—Lord’s—<em>Stumped</em> was originally meant to have been filmed in front of a live audience and simultaneously live-streamed from Lord’s on September 10, 2022. But due to the national event of Queen Elizabeth II dying on September 8, 2022, a pause was placed on the presence of a live audience and the live streaming from the real Lord’s Cricket Ground. Notwithstanding the cancellation of the live event, the ghostly presence of the real Lord’s and the echoes of a live audience and live streaming shadow, haunt and frame the reality of the play. <strong>[End Page 362]</strong></p> <br/> Click for larger view<br/> View full resolution <p>The cast of <em>Stumped</em> by Shomit Dutta, produced by Original Theatre. Photo: North South.</p> <p></p> <p>Insisting on the presence of the real to act as a counterbalance to the hegemony of the virtual, <em>Stumped</em>’s proscenium arch was constructed as a dark, heavy wooden picture frame encircling and framing the set of an English cricket pavilion drenched in the vibrant color palette and design of René Magritte’s blue skies and white clouds, reminiscent of the very <em>pompier trompe-l’oeil</em> backcloth to Beckett’s play <em>Happy Days</em>. On the back wall hung another three-dimensional picture that framed and con","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2024-01-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139489864","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 Museum of Human Hunting: Thomas Bellinck's Speculative Documentary 人类狩猎博物馆托马斯-贝林克的推理纪录片
IF 0.5 3区 艺术学
THEATRE JOURNAL Pub Date : 2024-01-18 DOI: 10.1353/tj.2023.a917478
Katia Arfara
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引用次数: 0
Love Is Love Is Love: Broadway Musicals and LGBTQ Politics, 2010–2020 by Aaron C. Thomas 爱就是爱,爱就是爱:百老汇音乐剧与 LGBTQ 政治,2010-2020 年》,亚伦-C-托马斯著。
IF 0.5 3区 艺术学
THEATRE JOURNAL Pub Date : 2024-01-18 DOI: 10.1353/tj.2023.a917491
Ryan Donovan
{"title":"Love Is Love Is Love: Broadway Musicals and LGBTQ Politics, 2010–2020 by Aaron C. Thomas","authors":"Ryan Donovan","doi":"10.1353/tj.2023.a917491","DOIUrl":"https://doi.org/10.1353/tj.2023.a917491","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <ul> <li><!-- html_title --> <em>Love Is Love Is Love: Broadway Musicals and LGBTQ Politics, 2010–2020</em> by Aaron C. Thomas <!-- /html_title --></li> <li> Ryan Donovan </li> </ul> <em>LOVE IS LOVE IS LOVE: BROADWAY MUSICALS AND LGBTQ POLITICS, 2010–2020</em>. By Aaron C. Thomas. London: Routledge, 2023; pp. 183. <p>Does the Broadway musical matter to U.S. American political discourse? If so, how and why? These are central questions Aaron C. Thomas asks in his new book, in which he argues, “The politics of Broadway musicals […] matter a great deal more to U.S. American culture than they might seem to mean, and Broadway musicals are especially important to mainstream politics surrounding sex, gender, and sexuality” (10). <em>Love Is Love Is Love: Broadway Musicals and LGBTQ Politics, 2010–2020</em> chronologically charts the sometimes direct, sometimes tenuous relationship of Broadway and film musicals to LGBTQ politics over five chapters. Though the book is primarily about the stage musical, Thomas’s compelling insights into the complexities of identity and identification will be of interest scholars of theatre studies and film studies and apply to a range of theatrical forms beyond the musical.</p> <p>Thomas’s study aims its focus on five musicals that all “revive a film and a previous musical” (25). For a book ostensibly about the stage (if the subtitle is any indication), Thomas devotes quite a lot of time to films and their stage adaptations and contributes to the growing body of scholarship on musical revivals. The interplay between the stage and screen is another primary concern, occasionally at the expense of a deeper analysis of Thomas’s perceptive points about LGBTQ politics. In fact, a longer elucidation and historicization of LGBTQ politics would have been especially useful for students in the book’s introduction.</p> <p>The explosion of LGBTQ representation in musicals since 2000 means that Thomas had ample opportunity to select case studies from dozens of options; that he chose “five in which no characters explicitly identify as L, G, B, T, or Q” (23) announces that this book proposes to do something different than much contemporary scholarship on identity and identification. This choice echoes earlier musical theatre studies scholarship, particularly Stacy Wolf’s foundational <em>A Problem Like Maria: Gender and Sexuality in the American Musical</em> (2002). In this light, Thomas could be said to take up Wolf’s call that “the challenge is to determine how lesbians appear where none officially exist” (Wolf, 4). He explains that he is “working with . . . the idea that queer audiences and queer performers–what they say about the shows and what they do with the shows–are more important or more interesting than any of a show’s own ideas about queerness” (23). Much space in the book is, however, spent on Thomas’s queer readings of the shows in ","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2024-01-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139489916","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
Kimberly Akimbo by David Lindsay-Abaire (review) David Lindsay-Abaire 的《Kimberly Akimbo》(评论)
IF 0.5 3区 艺术学
THEATRE JOURNAL Pub Date : 2024-01-18 DOI: 10.1353/tj.2023.a917484
Rachel Evans
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引用次数: 0
Blackness in Morocco: Gnawa Identity Through Music and Visual Culture by Cynthia J. Becker (review) 摩洛哥的黑人:Cynthia J. Becker 所著的《通过音乐和视觉文化看 Gnawa 特性》(评论)
IF 0.5 3区 艺术学
THEATRE JOURNAL Pub Date : 2024-01-18 DOI: 10.1353/tj.2023.a917495
Cleo Jay
{"title":"Blackness in Morocco: Gnawa Identity Through Music and Visual Culture by Cynthia J. Becker (review)","authors":"Cleo Jay","doi":"10.1353/tj.2023.a917495","DOIUrl":"https://doi.org/10.1353/tj.2023.a917495","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>Blackness in Morocco: Gnawa Identity Through Music and Visual Culture</em> by Cynthia J. Becker <!-- /html_title --></li> <li> Cleo Jay </li> </ul> <em>BLACKNESS IN MOROCCO: GNAWA IDENTITY THROUGH MUSIC AND VISUAL CULTURE</em>. Cynthia J. Becker. Minneapolis: University of Minnesota Press, 2020; 304 pp. <p>Since the Arab Spring uprisings of 2011, North Africa has been the topic of many books and articles, often focused on the role of women and ethnic groups in the revolts. In particular, Amazigh (Berber) minorities have become more visible after years of being marginalized; for example, they achieved official recognition of their languages and specific heritage in several countries. However, very little has been written about Black communities, despite the vibrant, popular Gnawa cultural movement in Morocco. In the racially-charged context of North Africa, Black immigrants from Sub-Saharan Africa often face suspicion and discriminatory practices from majoritarian communities, police forces, and governments. With a growing number of migrants and refugees trying to cross into Europe, North African states are placed under tremendous pressure, and this creates tensions between local communities and new arrivals.</p> <p>Cynthia Becker’s new book, <em>Blackness in Morocco: Gnawa Identity through Music and Visual Culture</em> is a welcome, needed, and topical addition to research on North African identities and contemporary culture. More specifically, it ties performance and music practices to the issue of race and the history of slavery, bringing a new outlook to studies on Gnawa communities and their history. It is an essential read for anyone interested in North African cultural and performance heritage, and, more generally, minority and race studies.</p> <p>Becker takes a fieldwork-focused approach to research, bringing to the fore the voices of minorities that are often excluded from national discourse. She adopts an ethnographic methodology, fully immersing herself within communities for long periods of time and documenting practices that are central to their sense of identity. <em>Blackness in Morocco</em> focuses on Gnawa performance practices and their spiritual rituals, both unique within the North African cultural landscape. Her previous book <em>Amazigh Arts in Morocco: Women Shaping Berber Identity</em> (2006) looked at the quotidian lives of women in marginalized areas, who play a vital role in preserving local dialects and traditions. Some of the key themes of this earlier research reappear here: a focus on marginalized groups, particularly women, and the idea of empowerment through creative or spiritual practices. Becker particularly teases out the ways differences are celebrated through performance, and how African ancestral heritage perpetuates despite postcolonial policies that sought","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":null,"pages":null},"PeriodicalIF":0.5,"publicationDate":"2024-01-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139489805","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
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