THEATRE JOURNAL最新文献

{"title":"On Inclusion and Resurgence: The State of North American Indigenous Theatre and Performance Scholarship","authors":"Bethany Hughes","doi":"10.1353/tj.2023.a922219","DOIUrl":"https://doi.org/10.1353/tj.2023.a922219","url":null,"abstract":"<p><p>Abstract:</p><p>This article follows the structure of a pop song—verse, chorus, verse, chorus, bridge, chorus—to put into relationship scholarship on North American Indigenous theatre and performance, the current state of academia, the politics of Indigeneity, and critiques of recognition and inclusion from Indigenous Studies. Historicizing Indigenous theatre scholarship and production alongside Peter Morin and Jimmie Kilpatrick’s participatory karaoke performance, “Love Songs to End Colonization,” models disciplinary inclusion and how Indigenous performance challenges it. This essay turns to Glen Coulthard’s call for Indigenous resurgence and Dylan Robinson’s demonstration of disciplinary redress to explicate why Indigenous performance can be aesthetically and politically powerful. In singing these disparate ideas together, this essay considers the benefits and pitfalls of inclusion for Indigenous theatre into North American theatre production, scholarship, and higher education as well as issue a warning against complacent inclusion and mere celebrations of diversity. Indigenous performance asks more than theatre and performance studies often acknowledges; to engage with it robustly and productively, the field must be open to singing a song it is just beginning to learn.</p></p>","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"71 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140130096","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":"Four Notes on Six Conversations","authors":"Carla Neuss","doi":"10.1353/tj.2023.a922315","DOIUrl":"https://doi.org/10.1353/tj.2023.a922315","url":null,"abstract":"&lt;span&gt;&lt;span&gt;In lieu of&lt;/span&gt; an abstract, here is a brief excerpt of the content:&lt;/span&gt;\u0000&lt;p&gt; &lt;ul&gt; &lt;li&gt;&lt;!-- html_title --&gt; Four Notes on Six Conversations &lt;!-- /html_title --&gt;&lt;/li&gt; &lt;li&gt; Carla Neuss (bio) &lt;/li&gt; &lt;/ul&gt; &lt;p&gt;In June 2023, I had the unexpected privilege of being able to sit down, in person, with six scholars in our field for a series of open-ended and wide-ranging conversations. The occasion was, nominally, a chance to reflect on the seventy-five years of &lt;em&gt;Theatre Journal’s&lt;/em&gt; contribution to theatre scholarship; but over the course of my conversations with Rustom Bharucha, Jean Graham-Jones, Joseph Roach, Karen Shimakawa, Patricia Ybarra, and Harvey Young, what emerged was a multi-valenced probing of the past, present, and future of what has come to be known as theatre and performance studies. As a recently minted PhD, I was conscious of proverbially sitting at the feet of intellectual giants in our field and had planned on dutifully asking a series of pre-prepared questions: What has your experience with &lt;em&gt;Theatre Journal&lt;/em&gt; been? What do you see as the role of scholarly journals today? What are your hopes for the next seventy-five years of the journal? As in only but the richest of conversations, what resulted exceeded the narrow bounds of such questions and I found myself sharing ideas, concerns, and hopes with my interlocutors that ran the gamut from redefining diversity to the collapse of public universities, the sidelining of theatre history to the tensions between scholarship and practice.&lt;/p&gt; &lt;p&gt;My task since that June has been to distill the knowledges generated from these conversations in order to share them with &lt;em&gt;TJ&lt;/em&gt; readers and the field at large. To that end, I have produced a series of short videos drawn from these interviews (which I had the good fortune to be able to record) as well as publishing the transcripts of our conversations in hopes of building an archive of reflections on the state of the field that can serve scholars in years to come. In this short essay, I cannot do justice to the richness of this archive. What I can do, though, is distill the threads of conversation into four key considerations, each of which continues to linger with me. I hope by sharing these notes with you we can collectively consider—and create—what the next seventy-five years of the discourse on theatre and performance will be and the form it will take.&lt;/p&gt; &lt;ol&gt; &lt;li&gt; &lt;p&gt;1. Dwindling, if not gone, are the days of receiving a journal like &lt;em&gt;TJ&lt;/em&gt; in the mail, sitting down with a beverage of choice, and reading it cover to cover. Harvey Young suspects that perhaps only Ric Knowles still enacts that ritual of reading that was once dominant. For me, as a scholar raised in the keyword generation, reading a journal in its entirety has gone the way of listening to an entire album; instead, I usually just stream the hit single from Spotify (in this case, JSTOR or ProjectMuse.) A sense of loss surrounding this shift underpinn","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140130116","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":"Baroque Modernity: An Aesthetic of Theater by Joseph Cermatori (review)","authors":"David Krasner","doi":"10.1353/tj.2023.a922237","DOIUrl":"https://doi.org/10.1353/tj.2023.a922237","url":null,"abstract":"&lt;span&gt;&lt;span&gt;In lieu of&lt;/span&gt; an abstract, here is a brief excerpt of the content:&lt;/span&gt;\u0000&lt;p&gt; &lt;span&gt;Reviewed by:&lt;/span&gt; &lt;ul&gt; &lt;li&gt;&lt;!-- html_title --&gt; &lt;em&gt;Baroque Modernity: An Aesthetic of Theater&lt;/em&gt; by Joseph Cermatori &lt;!-- /html_title --&gt;&lt;/li&gt; &lt;li&gt; David Krasner &lt;/li&gt; &lt;/ul&gt; &lt;em&gt;BAROQUE MODERNITY: AN AESTHETIC OF THEATER&lt;/em&gt;. By Joseph Cermatori. Baltimore: John Hopkins University Press, 2021; 298 pp. &lt;p&gt;In Thornton Wilder’s inaugural 1938 production of &lt;em&gt;Our Town&lt;/em&gt;, director Jed Harris staged a moment in the play where over a dozen actors portraying townspeople hold open umbrellas aloft on an otherwise bare stage. The decorative image, a sea of hovering black umbrellas, conveyed what was in keeping with the playwright’s penchant for baroque theatricality. Wilder, a close friend and colleague of Gertrude Stein, absorbed Stein’s conceptualization of opaque, esoteric, and stylized representations that drew from the qualities and history of the baroque. Wilder and Stein engaged in and promoted baroque modernity by combining the commonplace &lt;strong&gt;[End Page 584]&lt;/strong&gt; with the visually profound, unworldly, and hyper-theatrical; they shared a vision of a modernized baroque theatre in which the spatial comportment of vivid spectacles and dynamic stage images created extravagant, playful, eclectic, exuberant, and temporally immediate (living in the moment) theatricality.&lt;/p&gt; &lt;p&gt;The umbrella staging of &lt;em&gt;Our Town&lt;/em&gt; aligns with Joseph Cermatori’s &lt;em&gt;Baroque Modernity&lt;/em&gt;, a brilliantly written history of baroque theatre that focuses on four doyens of modern baroque aesthetic: Friedrich Nietzsche, Stéphane Mallarmé, Walter Benjamin, and Stein. By examining the theories, ideas, and staging of these four figureheads, the book documents “an account of the historical, artistic, and philosophical circumstances that made Wilder’s vision of baroque modernism possible” (6). Cermatori’s objective is to excavate the baroque from its perceived recidivist Renaissance antiquity and situate it firmly and dynamically in the modernist (specifically 1875 to 1935) Euro-American zeitgeist. This re-reading of the baroque significantly shifts our perspective of modern drama from a temporal drama to “&lt;em&gt;also&lt;/em&gt; an art of space” (9), where the physical theatre incorporates architecture, music, dance, sculpture, lighting, engineering (“special effects”), and a plethora of visual-spatial aesthetics.&lt;/p&gt; &lt;p&gt;Baroque themes for the four thinkers and writers, Cermatori claims, “held out a liberatory promise, one that can be read against the grain of the frequently reactionary program of seventeenth-century baroque art” (26). Rather than accepting modernism’s natural trajectory as leading towards realism or mimetically representative theatre, Cermatori provides an alternative modernity guided by Nietzsche, Mallarmé, Benjamin, and Stein’s advocacy for a lavishly anti-mimetic, Dionysian prone, and visually spectacular baroque-centered drama. His book offers a fresh ","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"103 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140130110","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":"Trans Care by Hil Malatino (review)","authors":"Dan Paz","doi":"10.1353/tj.2023.a922239","DOIUrl":"https://doi.org/10.1353/tj.2023.a922239","url":null,"abstract":"&lt;span&gt;&lt;span&gt;In lieu of&lt;/span&gt; an abstract, here is a brief excerpt of the content:&lt;/span&gt;\u0000&lt;p&gt; &lt;span&gt;Reviewed by:&lt;/span&gt; &lt;ul&gt; &lt;li&gt;&lt;!-- html_title --&gt; &lt;em&gt;Trans Care&lt;/em&gt; by Hil Malatino &lt;!-- /html_title --&gt;&lt;/li&gt; &lt;li&gt; Dan Paz &lt;/li&gt; &lt;/ul&gt; &lt;em&gt;TRANS CARE&lt;/em&gt;. By Hil Malatino. Forerunner Series. Minneapolis, MN: University of Minnesota Press, 2020; pp. 79. &lt;p&gt;&lt;em&gt;Trans Care&lt;/em&gt;, written in the context of western, queer, trans and non-binary experience, is part of University of Minnesota Press’s &lt;em&gt;Forerunners: Ideas First&lt;/em&gt; series. These books, short in length and sometimes long and wild in sentiment, are meant to provide a &lt;strong&gt;[End Page 597]&lt;/strong&gt; more immediate and open-access space for scholars to speculate, analyze, and think out loud.&lt;/p&gt; &lt;p&gt;Rather than producing a guide or manual, Hil Malatino illustrates how daily negative affect impacts queer, trans, and non-binary lives. One of the topics that Malatino takes up is the harm of misgendering. Malatino critiques misgendering as a microaggression that is not simply offensive to an individual’s sensibilities but is instead ultimately an ontological refusal of the legitimacy of trans existence. In response to such attacks, Malatino uses photography as a metaphor to describe a culture of trans care that pushes beyond the frame of rote institutional mores to provide a temporally generative space for thinking about trans existence and imagining its possibilities. Malatino looks for relations between the lived experiences documented by photographs, the aesthetics and limits of the photograph, and the photograph’s audience, leveraging what French photography theorist Roland Barthes would call the overall cultural interplay between personal and collective responses to visual representations in the “studium.”&lt;/p&gt; &lt;p&gt;In this reading, the image depicts both the cultural and structural aspects of society, while shaping &lt;em&gt;and&lt;/em&gt; interacting with our lives. In the first chapter, “Surviving Trans Antagonism,” Malatino describes the anticipation of his upcoming top-surgery to explore aftercare as a world of living and wellness; a vulnerability “that facilitates and supports emergence into a radically recalibrated experience of both body-mind and the world it encounters” (3). He uses contemporary photographic &lt;em&gt;mise en scene&lt;/em&gt;, contextualizing a single frame of space in time, to decenter Eurocentric and normative concepts of family, picking apart “dominant imaginaries of how care labor does and should operate” (7). Malatino asks, “how are queer and trans folx living in the world, and how is the world living around us?”&lt;/p&gt; &lt;p&gt;Recently, my partner underwent gender affirming surgery, and it’s been difficult to reckon with the degree of queer kin interdependence required to make our lives work. They had a very alarming fainting spell the day after top surgery while on a host of medications. Stumbling to answer a series of dated and irrelevant questions on a 911 phone call to paramedics, I was bo","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"113 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140130114","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":"\"Moving Through and Beyond\": Asian American Theatre and Performance Studies","authors":"Josephine Lee","doi":"10.1353/tj.2023.a922211","DOIUrl":"https://doi.org/10.1353/tj.2023.a922211","url":null,"abstract":"<p><p>Abstract:</p><p>For decades, <i>Theatre Journal</i> has deeply engaged with different aspects of Asian American theatre and performance. This essay surveys a range of <i>Theatre Journal</i> articles published from the 1990s in order to map out this distinctive area of theatre and performance studies. Key articles by James Moy, Karen Shimakawa, and Daphne Lei grapple with the legacy of racial stereotypes and the aesthetics and reception of contemporary Asian American performance. Essays by Angela Pao, Celine Parreñas Shimizu, Sean Metzger, and Ju Yon Kim emphasize the racialized bodies of actors and the history of yellowface and brownface acting, while Christopher Eng, Christine Mok, Megan Shea, and Dan Bacalzo emphasize the intersectional and transnational dimensions of Asian American expression. These and other scholars of Asian American theatre and performance continue to engage with new aspects of immigrant and refugee performance as well as gender and sexuality in Asian American theatre. At a time of changing demographics and cultural visibility, this essay helps us see how scholars have addressed the enormous diversity of Asian American experiences and perspectives as well as common preoccupations about visibility and representation, the persistence of orientalist typecasting, and the dynamic and complicated nature of Asian American identity.</p></p>","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"78 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140130128","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":"Mel Brooks: Disobedient Jew by Jeremy Dauber (review)","authors":"Brynn W. Shiovitz","doi":"10.1353/tj.2023.a922240","DOIUrl":"https://doi.org/10.1353/tj.2023.a922240","url":null,"abstract":"&lt;span&gt;&lt;span&gt;In lieu of&lt;/span&gt; an abstract, here is a brief excerpt of the content:&lt;/span&gt;\u0000&lt;p&gt; &lt;span&gt;Reviewed by:&lt;/span&gt; &lt;ul&gt; &lt;li&gt;&lt;!-- html_title --&gt; &lt;em&gt;Mel Brooks: Disobedient Jew&lt;/em&gt; by Jeremy Dauber &lt;!-- /html_title --&gt;&lt;/li&gt; &lt;li&gt; Brynn W. Shiovitz &lt;/li&gt; &lt;/ul&gt; &lt;em&gt;MEL BROOKS: DISOBEDIENT JEW&lt;/em&gt;. By Jeremy Dauber. New Haven, CT: Yale University Press, 2023; pp. 201. &lt;p&gt;It seems fitting that a biography of Mel Brooks would be published the same week that the comedian auteur released &lt;em&gt;History of the World, Part II&lt;/em&gt; on Hulu, a sequel audiences have been anticipating for the last forty-two years. Jeremy Dauber’s survey of Mel Brooks’s career as “Disobedient Jew” is not a typical piece of academic scholarship, but instead a breezy, pun-laden yet deeply articulate bio-analysis of Brooks’s métier writ large. Utilizing a combination of primary source material, Brooksian humor, Yiddish knowledge, and in-depth analysis, Dauber demonstrates his insider status as a descendant of the old country as well as his command of popular culture, an unironically self-reflexive identity necessary to critique the unapologetically Jewish Brooks who has always relied heavily on these traits to tell his stories. Mel Brooks made having fun a requirement of his success, and Dauber has clearly done the same with this book. &lt;em&gt;Mel Brooks: Disobedient Jew&lt;/em&gt; will prove helpful to anyone teaching a film genre course on parody/comedy or a class on Jewish film/performance. It is also a great resource for anyone taking up questions of representational politics, as Dauber addresses Brooks’s often controversial choices.&lt;/p&gt; &lt;p&gt;It is easy to get swept up in someone’s notoriety and think it was just good fortune that brought them there. Dauber shows, however, that Mel Brooks worked tirelessly to arrive at his fame and acclaim. Brooks lost his father as a toddler, making it understandable why he would forever crave attention—a comic’s cliché—and why the streets of Brooklyn would become so formative for him. It is on these streets that a young Brooks would learn the “art of the fast-paced, free-flow, wild man &lt;em&gt;shpritz&lt;/em&gt;” (7). A 1930s Brooklyn vernacular was quick-witted, sassy, and predominantly Jewish, a tongue which no doubt surfaces in everything Brooks touches. Understanding this Brooklyn vernacular helps to highlight the similarities between Brooks’s comedic style and the style of his Jewish predecessors, comedians like Eddie Cantor who Brooks grew up observing and no doubt emulating.&lt;/p&gt; &lt;p&gt;An &lt;em&gt;Amerikaner-geboyren&lt;/em&gt; who lived amongst other first-generation US Jews, Brooks was simultaneously shaped by the language and familiarity of his Eastern European neighbors and the more assimilated entertainers he grew up watching on the screen and stage. As Dauber writes, “the outer-borough kid dreamed of the Great White Way, which was everything Manhattan was supposed to be; sophisticated, cosmopolitan, rich, and of course, more than ever so slightly Gentile—the kin","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"68 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140130147","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":"Kate (review)","authors":"Daniel Sack","doi":"10.1353/tj.2023.a922232","DOIUrl":"https://doi.org/10.1353/tj.2023.a922232","url":null,"abstract":"&lt;span&gt;&lt;span&gt;In lieu of&lt;/span&gt; an abstract, here is a brief excerpt of the content:&lt;/span&gt;\u0000&lt;p&gt; &lt;span&gt;Reviewed by:&lt;/span&gt; &lt;ul&gt; &lt;li&gt;&lt;!-- html_title --&gt; &lt;em&gt;Kate&lt;/em&gt; &lt;!-- /html_title --&gt;&lt;/li&gt; &lt;li&gt; Daniel Sack &lt;/li&gt; &lt;/ul&gt; &lt;em&gt;KATE&lt;/em&gt;. By Kate Berlant. Directed by Bo Burnham. Connelly Theater, New York. September 29, 2022. &lt;p&gt;If a tear is, as William Archer wrote in his 1888 treatise against Diderot, the “external, visible, sensible fact” of the “most important emotion” for an actor, then one can understand how an actor’s failure to produce this sign of effective performance could be devastating. In comedian Kate Berlant’s spiraling meta-performance &lt;em&gt;Kate&lt;/em&gt;, the titular character’s inability to cry on cue is itself the traumatic foundation upon which a self is constructed. Berlant’s star is on the rise. Her standup special &lt;em&gt;Cinnamon in the Wind&lt;/em&gt; premiered on Hulu two weeks before I caught &lt;em&gt;Kate&lt;/em&gt;; both performances were directed by the equally multi-faceted Bo Burnham. Berlant’s brand of experimental comedy shows a sophistication that resonates with the ironic simulations of the downtown New York performance scene while also evincing a genuine love for live theatre.&lt;/p&gt; &lt;p&gt;The lobby of the Connelly Theater was crammed full of all things “Kate”: her name and photos hung on the walls, her black jeans and top displayed in vitrines, her Moleskine notebook elevated on a plinth. Two immersive “experiences” flanked the lobby, inviting the audience to relive the performer’s past: the first, a stretch of sand, recalling her youth on the beaches of Santa Monica; the second, a recreation of her childhood living room, her father’s ersatz lounge chair center. An artist’s statement just this side of pretension proclaimed: “The theatre requires a sacred corporal exchange […] As I enter this space, I am destroyed and transformed, made consumable only as I become consumed by my own narrative.” And there, on a bench to one side, sat the woman herself, in dark sunglasses, scrolling through her phone, wearing a sign that said: “Ignore me.”&lt;/p&gt; &lt;br/&gt; Click for larger view&lt;br/&gt; View full resolution &lt;p&gt;Kate Berlant in &lt;em&gt;Kate&lt;/em&gt;. Photo: Emilio Madrid.&lt;/p&gt; &lt;p&gt;&lt;/p&gt; &lt;p&gt;If the lobby display sent up the narcissism sanctified by both celebrity and museum culture, the performance parodied the genre of the autobiographical monologue. Shifting between direct address and her over-the-top characterizations (including her impersonation of an old stagehand who bookended the show with claptrap about the magic of the stage), Berlant put her own spin on the familiar story of the small-town girl, sitting on her porch under the stars and dreaming of making it big in Hollywood. Stymied by a mother who insists that her “big, crass style of indication has no place on camera,” Kate travels to New York and takes to the stage instead, which she hopes will be more forgiving. Retreading the narrative arc of many such shows, she must overcome a secret trauma to achieve success","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"56 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140130148","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":"On Editing, Paying it Forward, and Having Energy: A Conversation with Jean Graham-Jones, Former Editor","authors":"Jean Graham-Jones, Carla Neuss","doi":"10.1353/tj.2023.a922317","DOIUrl":"https://doi.org/10.1353/tj.2023.a922317","url":null,"abstract":"&lt;span&gt;&lt;span&gt;In lieu of&lt;/span&gt; an abstract, here is a brief excerpt of the content:&lt;/span&gt;\u0000&lt;p&gt; &lt;ul&gt; &lt;li&gt;&lt;!-- html_title --&gt; On Editing, Paying it Forward, and Having Energy: &lt;span&gt;A Conversation with Jean Graham-Jones, &lt;em&gt;Former Editor&lt;/em&gt;&lt;/span&gt; &lt;!-- /html_title --&gt;&lt;/li&gt; &lt;li&gt; Jean Graham-Jones (bio) and Carla Neuss (bio) &lt;/li&gt; &lt;/ul&gt; &lt;p&gt;&lt;em&gt;This interview was conducted in June 2023 at Yale University through the support and generosity of the Yale Institute of Sacred Music, UCLA, and ATHE; it has been edited for clarity and length&lt;/em&gt;.&lt;/p&gt; &lt;strong&gt;Jean Graham-Jones (JGJ):&lt;/strong&gt; &lt;p&gt;I was coeditor and then editor of &lt;em&gt;Theatre Journal&lt;/em&gt; from 2004 through the end of 2007. I worked first with Harry Elam and then with David Saltz. It was a wonderful experience. I really love the apprenticeship model. Being coeditor and actively producing issues—it’s such a relief to have that under your belt by the time you assume the editorship. But that wasn’t my first engagement with &lt;em&gt;Theatre Journal&lt;/em&gt;. I &lt;u&gt;first published an article&lt;/u&gt; with &lt;em&gt;Theatre Journal&lt;/em&gt; in 2001, edited by Susan Bennett. It was from my revised dissertation, which turned into a monographic study, and I was writing about censorship and Buenos Aires, Argentine theatre, and theatre artists during the military dictatorship of 1976 to 1983. I just submitted an article cold, as we all do. I sought to insert myself into a larger conversation. I’ll talk some more about that later on. But I really wanted to talk about Argentine theatre outside of a strictly Latin American theatre context, which is also a world I live in and love.&lt;/p&gt; &lt;p&gt;So that was my first experience publishing with &lt;em&gt;Theatre Journal&lt;/em&gt;. Afterward, in 2014, I &lt;u&gt;published another essay&lt;/u&gt;. Ric Knowles was the editor at that point, and that piece was about Argentine theatre during the latest socioeconomic crisis at the beginning of &lt;strong&gt;[End Page E-81]&lt;/strong&gt; the twenty-first century. My students are always surprised: “You just submitted it like everybody else?” And I say, “Well, yeah, you’ve got to walk the talk.” I also published a &lt;u&gt;performance review essay on the contemporary Buenos Aires theatre scene&lt;/u&gt; at the invitation of then-performance review editor Daniel Sack. That was a lot of fun. I think that was 2016. And my monographs have been reviewed in &lt;em&gt;Theatre Journal&lt;/em&gt; as well. I’m currently on the editorial board, and I continue to serve as a peer reviewer. So I’m a big fan, and editing &lt;em&gt;Theatre Journal&lt;/em&gt; remains one of the highlights of my entire academic career. It happened because after that first article was published, Janelle Reinelt, a former editor of &lt;em&gt;Theatre Journal&lt;/em&gt; from a little bit before then sent me an email and said, “Jean, I think you should apply to be coeditor of &lt;em&gt;Theatre Journal&lt;/em&gt;.” I said, “Wow, thank you. That’s a great idea. Someday I’ll do it.” And Janelle said, “No, do it now while you still have the energy.” So I have Janelle to thank for that c","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"27 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140130108","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":"A Set of Questions for a Field in Motion: Susan Leigh Foster's \"Choreographies of Protest\" and Dance Studies in Theatre Journal","authors":"Alison Bory, Ariel Nereson","doi":"10.1353/tj.2023.a922212","DOIUrl":"https://doi.org/10.1353/tj.2023.a922212","url":null,"abstract":"<p><p>Abstract:</p><p>In her landmark essay “Choreographies of Protest,” Susan Leigh Foster articulated the central concerns of the (at the time) developing field of dance studies. Foster’s following analysis, embedded in her argument about the compositional elements of social action, advanced core dance studies methodologies. On the occasion of the 75th anniversary of <i>Theatre Journal</i>, this essay revisits “Choreographies of Protest,” published in the October 2003 issue, and considers its significance to the fields of theatre, performance, and dance studies. Foster’s famous guiding questions that appeared in this essay, and which foregrounded real-world actions of the body, served to define the methodological approach and possibility of dance studies as a field, both concretizing the queries that previous scholarship had addressed and proposing what might be examined in years to come. In so doing, these seemingly straightforward queries, and the answers they elicit, begin to argue for dance studies as an essential discipline to the humanities, a way of understanding both human experience and human relations.</p></p>","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"379 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140130129","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":"Seeking Critical Frameworks for Global Majority Theatre","authors":"Anita Gonzalez","doi":"10.1353/tj.2023.a922220","DOIUrl":"https://doi.org/10.1353/tj.2023.a922220","url":null,"abstract":"<p><p>Abstract:</p><p>The essay advocates for expanding theater studies publications to more effectively engage with global majority epistemologies as core methodologies for analyzing theatrical phenomena. Academic theatre classes often incorporate performance studies paradigms, but most theater programs remain centered around practice-based exercises for acting, directing, designing, and producing Eurocentric theater. Global majority ways of telling stories are either not taught to students or are integrated into curricula in carefully measured doses as alternative approaches to art-making. This essay encourages twenty-first century scholars to more astutely respond to cultural productions based upon vernacular and indigenous ways of theatrical storytelling, arguing that a significant step would be to incorporate more indigenous languages, and perhaps have the journal publish in multiple languages (with translation) to expand the readership. However, even foregrounding text-based performance may be limiting. Many of the aesthetics that underly arts production in global majority cultures are constituted outside of text-based paradigms; they use symbol, myth, sound, gesture, dance language, and music as poetic containers for delivering their messages. They also build from local epistemologies connected to spirituality, religion, or alternative beliefs about the rationale and intention of performance. This essay calls for more time and space devoted to critical analysis of theatre created and performed outside of standard theatre venues, as well as a more nuanced discussion of complex ecosystems that support artistic innovation.</p></p>","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"72 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140130133","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}