THEATRE JOURNAL最新文献

{"title":"Making Broadway Dance by Liza Gennaro, and: Embodied Nostalgia: Early Twentieth Century Social Dance and The Choreographing of Broadway Musical Theatre by Phoebe Rumsey (review)","authors":"Ray Miller","doi":"10.1353/tj.2024.a950312","DOIUrl":"https://doi.org/10.1353/tj.2024.a950312","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>Making Broadway Dance</em> by Liza Gennaro, and: <em>Embodied Nostalgia: Early Twentieth Century Social Dance and The Choreographing of Broadway Musical Theatre</em> by Phoebe Rumsey <!-- /html_title --></li> <li> Ray Miller </li> </ul> <em>MAKING BROADWAY DANCE</em>. By Liza Gennaro. New York: Oxford University Press, 2022; pp. 239. <em>EMBODIED NOSTALGIA: EARLY TWENTIETH CENTURY SOCIAL DANCE AND THE CHOREOGRAPHING OF BROADWAY MUSICAL THEATRE</em>. By Phoebe Rumsey. Routledge Advances in Theatre & Performance Studies Series. London: Roudedge, 2024; pp. 241. <p>While there has been an increasing number of excellent articles on aspects of musical theatre dance in recent years, there are few overall histories on dance in the US American musical, let alone histories that interrogate the dances themselves in substantive ways. The first was Richard Kislan's <em>Hoofing on Broadway: A History of Show Dancing</em> (1987), then Robert Emmet Long's <em>Broadway, the Golden Years: Jerome Robbins and the Great Choreographer-Directors, 1940 to the Present</em> (2001), and now, Liza Gennaro's <em>Making Broadway Dance</em> has arrived some twenty years later. Throughout this same period, there have been excellent overview musical theatre histories written by historians from Gerald Bordman and Ethan Mordden to Sheldon Patinkin and Larry Stempel. Many other scholars have offered in-depth critiques and theorizations of musical theatre, such as Scott Miller, Scott McMillin, Jack Viertel, Raymond Knapp, John Bush Jones, and Bruce Kirle. In other words, there is hardly a paucity of musical theatre history scholarship generally.</p> <p>Since the 1980s, there have been numerous articles on dance in specific musicals and on the work of selected choreographers in publications like <em>Studies in Musical Theatre, Theatre Journal</em>, and <em>Dance Research Journal</em>. There have also been important book-length examinations on the work of selected choreographers like Glenn Loney's <em>Unsung Genius: The Passion of Dancer-Choreographer Jack Cole</em> (1984), Deborah Jowitt's <em>Jerome Robbins: His Life, His Theater, His Dance</em> (2004), John Anthony Gilvey's <em>Before the Parade Passes By: Gower Champion and the Glorious American Musical</em> (2005), Kara Anne Gardner's <em>Agnes De Mille: Telling Stories in Broadway Dance</em> (2016), and Kevin Winkler's <em>Big Deal: Bob Fosse and Dance in the American Musical</em> (2018). While not as frequent, there are also examples of dancer-choreographers writing their own autobiographies, including Agnes de Mille's landmark <em>Dance to the Piper</em> (1951), Tommy Tune's <em>Footnotes: A Memoir</em> (1997), Donald McKayle's <em>Transcending Boundaries: My Dancing Life</em> (2002), and Bob Avian and Tom Santopietro's <em>Dancing Man: A Broadway Choreographer's Journey</","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"15 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2025-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143054817","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":"Starring Women: Celebrity, Patriarchy, And American Theater, 1790-1850 by Sara E. Lampert (review)","authors":"J. K. Curry","doi":"10.1353/tj.2024.a950316","DOIUrl":"https://doi.org/10.1353/tj.2024.a950316","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>Starring Women: Celebrity, Patriarchy, And American Theater, 1790-1850</em> by Sara E. Lampert <!-- /html_title --></li> <li> J. K. Curry </li> </ul> <em>STARRING WOMEN: CELEBRITY, PATRIARCHY, AND AMERICAN THEATER, 1790-1850</em>. By Sara E. Lampert. Women, Gender and Sexuality in American History Series. Urbana: University of Illinois Press, 2020; pp. 276. <p>The development of the star system and expansion of theatrical markets in the early nineteenth-century United States provided a new economic opportunity for a number of performers drawn from the London stage and elsewhere in Europe. Demand for itinerant stars grew to the point that homegrown talent also found an opening. In <em>Starring Women: Celebrity, Patriarchy, and American Theater, 1790-1850</em>, Sara E. Lampert focuses her attention on the women who booked starring engagements in this period. Like their male counterparts, women were drawn to itinerant starring in pursuit of potential rewards, including high income, enhanced reputations, and greater control of their repertoire. However, women faced significant challenges to succeeding in this arena.</p> <p>Beyond considering the difficulties starring women faced in negotiating contracts with male managers or maintaining the approval of male critics, Lampert argues the experiences of starring women illuminate the patriarchal organization of the US in the late eighteenth and nineteenth centuries. The circumstances of individual female performers varied, but their careers were impacted by issues unlikely to affect male stars, including the hardship of traveling as an unmarried woman or expectations that a father or husband would control business arrangements. Further, Lampert explores the ways starring women navigated an emerging celebrity culture and participated in the creation of a new middle-class and female theatre audience. Both as stars and audience members, women's activities were informed by the respectability politics of the day, with starring women helping make contested theatre spaces more hospitable to a certain class of white female spectator. At the same time, starring women, especially during the 1820s and '30s, embodied the contradictions of being women with high visibility careers while serving as champions of an ideal of domestic femininity. Female celebrities attempted to maintain a suitable public image within narrow bounds of respectability, with serious risk of suffering career damage from malicious gossip or exposure of their private lives.</p> <p><em>Starring Women's</em> organization is thematic and roughly chronological. Chapter 1, \"Between Stock and Star: Theater and Touring in the United States, 1790-1830,\" considers the career strategies of several women, including Anne Brunton Merry, Agnes Holman, Lydia Kelly, Clara Fisher, and Mary Ann Duff, <strong>[End ","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"22 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2025-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143054842","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":"Grief Capital, Grief Activism: The Brief Life of Mamie Till Bradley's NAACP Tour","authors":"Rhaisa Kameela Williams","doi":"10.1353/tj.2024.a950293","DOIUrl":"https://doi.org/10.1353/tj.2024.a950293","url":null,"abstract":"<p><p>Abstract:</p><p>In 1955, Mamie Till Bradley spoke throughout the country on behalf of the National Association for the Advancement of Colored People (NAACP) to bring justice to her recently murdered son, Emmett Till. While most scholarship focuses on Bradley's choice to publicize her son's mutilated body, I analyze her understudied NAACP-sponsored grief tour and her ensuing public fallout with the organization. Focusing on her attempts to create an infrastructure of care and compensation for herself, I forward the concept of <i>grief capital</i> to demonstrate how Black women and institutions make decisions based on the financial substrates of Black maternal grief.</p></p>","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"45 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2025-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143054799","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":"Performing Radical Care: The Muslim Grandmothers of Shaheen Bagh","authors":"Alisha Ibkar","doi":"10.1353/tj.2024.a950295","DOIUrl":"https://doi.org/10.1353/tj.2024.a950295","url":null,"abstract":"<p><p>Abstract:</p><p>On December 15, 2019, a group of elderly women from a Muslim ghetto on the outskirts of New Delhi came out in protest of the police brutalities against minority students who were resisting the recently passed Citizenship Amendment Act (CAA). Despite the widespread attention it received, the protest eluded attempts to understand it fully within both popular and academic discursive frameworks. Such incomprehensibility, this essay argues, stems from a disavowal of the protest's fundamental organizational principle: care. This essay brings scholarship on political performance in conversation with feminist care studies in order to look at how grandmothers reproduce their quotidian actions of care as radical performance.</p></p>","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"206 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2025-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143054801","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":"Si|embrando Life and Sowing Care: Refusing Gentrification on West Jefferson Boulevard","authors":"Irvin Manuel Gonzalez","doi":"10.1353/tj.2024.a950296","DOIUrl":"https://doi.org/10.1353/tj.2024.a950296","url":null,"abstract":"<p><p>Abstract:</p><p>This essay theorizes Latine <i>maneras de ser</i> (ways of being) as care through an analysis of <i>si</i>|<i>embra</i>, a 2021 collaborative performance and dance event cultivated between various Latine artists and the residents who live and own businesses on West Jefferson Boulevard in Los Angeles. I examine the gossip, partying, and dancing of folx on the block during the planning and presentation of <i>si</i>|<i>embra</i> to consider how performances of Latinidad are engaged to claim their right to exist in the present amid the ongoing effects of gentrification. In so doing, I highlight how care is communally crafted in ways that queer the neoliberal city and refuse banishment.</p></p>","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"9 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2025-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143054823","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":"Ibsen's Ghost: An Irresponsible Biographical Fantasy by Charles Busch (review)","authors":"Benjamin Gillespie","doi":"10.1353/tj.2024.a950309","DOIUrl":"https://doi.org/10.1353/tj.2024.a950309","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;Ibsen's Ghost: An Irresponsible Biographical Fantasy&lt;/em&gt;by Charles Busch &lt;!-- /html_title --&gt; &lt;/li&gt; &lt;li&gt; Benjamin Gillespie &lt;/li&gt; &lt;/ul&gt; &lt;em&gt;IBSEN'S GHOST: AN IRRESPONSIBLE BIO-GRAPHICAL FANTASY&lt;/em&gt;. By Charles Busch. Directed by Carl Andress. Primary Stages, 59E59 Theaters, New York. 03 &lt;day&gt;3&lt;/day&gt;, 2024. &lt;p&gt;Not to be confused with Ibsen's &lt;em&gt;Ghosts, Ibsen's Ghost&lt;/em&gt;—sardonically advertised as \"the play Ibsen never wrote!\"—was exactly what it promised in its subtitle: an irresponsible biographical fantasy of Ibsen's life. This is a revisionist history play that treats its subject matter with admiration along with a heavy dose of camp schtick. In &lt;em&gt;Ibsen's Ghost&lt;/em&gt;, playwright Charles Busch draws out the humor already extant in Ibsen's serious dramas of social conscience to the delight of audiences while also retaining the sensibility of an Ibsen play with its characteristic exposition and well-made structure.&lt;/p&gt; &lt;p&gt;An iconic performer and female impersonator, Busch has long been a staple of New York's downtown theatre scene. He has written and starred in more than twenty-five plays, including &lt;em&gt;The Divine Sister, The Lady in Question&lt;/em&gt;, and &lt;em&gt;Vampire Lesbians of Sodom&lt;/em&gt;(one of the longest-running plays in off-Broadway history). Busch pulls from an extensive knowledge of theatre history, canonical plays, and Hollywood film to write and perform satiric, melodramatic fictions that position Busch himself as the leading lady. To this point, in 2023, Busch released his much-anticipated &lt;em&gt;Leading Lady: A Memoir of a Most Unusual Boy&lt;/em&gt;, which documents his upbringing and history as a performer in exquisite detail (including an audiobook version recorded by Busch himself).&lt;/p&gt; &lt;p&gt;As a female impersonator, Busch has been unmatched since the early days of Charles Ludlam's Ridiculous Theatrical Company. Inspired by Ludlam's performances of strong female protagonists, Busch takes seriously his portrayals of these roles (tellingly, the understudy for Busch's role in &lt;em&gt;Ibsen's Ghost&lt;/em&gt;was actress Kate Hampton). Unlike performers in traditional drag, Busch wants to be taken seriously as a female actor, rather than simply undermining or satirizing the women he plays: he wants them to be perceived respectfully even at their most ridiculous moments. This context is important for &lt;em&gt;Ibsen's Ghost&lt;/em&gt;: while Busch certainly wants to be funny, he also wants to find the real emotional life of his character, Ibsen's widow Susannah. Significantly, Busch is also much more attendant to Ibsen's actual biography than Cole Escola is about Mary Todd Lincoln in the blockbuster hit &lt;em&gt;Oh, Mary!&lt;/em&gt;While not all details are accurate, Busch makes an effort to be moderately close to the truth. In contrast, Escola regularly claims they did \"less than no research\" on Lincoln, demonstrating their rela","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"20 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2025-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143054816","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":"Active Analysis by Maria Knebel, and: Analysis Through Action For Actors And Directors: From Stan-Islavsky To Contemporary Performance by David Chambers (review)","authors":"David Krasner","doi":"10.1353/tj.2024.a950315","DOIUrl":"https://doi.org/10.1353/tj.2024.a950315","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;Active Analysis&lt;/em&gt; by Maria Knebel, and: &lt;em&gt;Analysis Through Action For Actors And Directors: From Stan-Islavsky To Contemporary Performance&lt;/em&gt; by David Chambers &lt;!-- /html_title --&gt;&lt;/li&gt; &lt;li&gt; David Krasner &lt;/li&gt; &lt;/ul&gt; &lt;em&gt;ACTIVE ANALYSIS&lt;/em&gt;. By Maria Knebel. Compiled and edited by Anatoli Vassiliev. Translated by Irina Brown. London: Routledge, 2021; pp. 260. &lt;em&gt;ANALYSIS THROUGH ACTION FOR ACTORS AND DIRECTORS: FROM STAN-ISLAVSKY TO CONTEMPORARY PERFORMANCE&lt;/em&gt;. By David Chambers. London: Routledge, 2024; pp. 316. &lt;p&gt;Konstantin Stanislavsky is one of the most influential acting teachers of the twentieth century. Yet, despite his significance and his death over eighty years ago in 1938, new facets of his teachings are still being uncovered. The miasma surrounding Stanislavsky is due to Soviet censorship, the vagaries of translation, and the fact that during his life Stanislavsky reevaluated his theory and practice of actor training. We now know, for instance, that during his final years, Stanislavsky revised his methodology, coalescing around a new theory termed in English as \"active analysis\" or \"analysis through action.\" Previously, active analysis/analysis through action (AA) was dubbed \"the method of physical action,\" a term Stanislavsky did not use but that derived from actor Vasili Toporkov, Stanislavsky's student at the Moscow Art Theatre. In his book &lt;em&gt;Stanislavsky in Rehearsal&lt;/em&gt;, Toporkov coined the English variation of the term. The method of physical action was then promulgated by Stalinist ideologues and acting teachers who believed that this training procedure nullified Stanislavsky's earlier techniques, most notably Stanislavsky's \"affective memory\" (the term describing emotional recall). Claiming that Stanislavsky created two \"periods\" of work—dubbed \"Early and Late\"—advocates of the method of physical action argued that Stanislavsky's Late period rejected affective memory &lt;em&gt;tout court&lt;/em&gt; in favor of mechanical physicality, which alone was deemed the cornerstone of Stanislavsky's System. The doyen of Method Acting, Lee Strasberg, was demonized as the arbiter of the supposedly regressive affective memory, and the phrase \"do the action first and the feelings will follow\" lodged into acting training's collective consciousness.&lt;/p&gt; &lt;p&gt;These two books, &lt;em&gt;Active Analysis&lt;/em&gt; (2021) by Maria Knebel and Analysis &lt;em&gt;through Action for Actors and Directors: From Stanislavsky to Contemporary Performance&lt;/em&gt; (2024) by David Chambers, set the record straight. Knebel, one of Stanislavsky's students, and Chambers, an acting teacher and historian of Russian theatre, each provide detailed analyses of Stanislavsky's final working method, one that never abandoned the actor's task of personalizing, experiencing, and humanizing the role. Instead of dividing Stanislavsky into two ","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"27 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2025-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143054819","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 Theatre of Christopher Durang by Miriam M. Chirico (review)","authors":"Amy S. Osatinski","doi":"10.1353/tj.2024.a943417","DOIUrl":"https://doi.org/10.1353/tj.2024.a943417","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;The Theatre of Christopher Durang&lt;/em&gt; by Miriam M. Chirico &lt;!-- /html_title --&gt;&lt;/li&gt; &lt;li&gt; Amy S. Osatinski &lt;/li&gt; &lt;/ul&gt; &lt;em&gt;THE THEATRE OF CHRISTOPHER DURANG&lt;/em&gt;. By Miriam M. Chirico. Methuen Drama Critical Companions. London: Bloomsbury Methuen Drama, 2020; pp. 234. &lt;p&gt;Christopher Durang's works have opened on Broadway, and he's won the Tony Award for Best Play and been nominated for the Tony Award for Best Book of a Musical. Additionally, he was a Pulitzer Prize finalist. Yet, as Miriam Chirico points out, \"very little scholarship exists about Durang's theatrical oeuvre, considering the vast amount of plays he's contributed to the American theatre repertory\" (214). In &lt;em&gt;The Theatre of Christopher Durang&lt;/em&gt;, she begins to remedy this omission by attempting to provide comprehensive coverage of the playwright's work in a single volume.&lt;/p&gt; &lt;p&gt;In the introduction, Chirico weaves together biographical facts and anecdotes with examples from Durang's plays, illustrating instances where his life visibly influenced his work. This setup promises further exploration into the connection between the playwright's life and his plays. This is an exciting prospect, given Durang's background as a queer former Catholic––two identities that notably shape his plays. Following the introduction, however, the book shifts its focus and prioritizes the themes of the plays above their connection to the author's identities, diverting from the initial promise of a deeper exploration into how Durang's personal background influences his work.&lt;/p&gt; &lt;p&gt;The introduction also serves as a primer on the genre of Dark Comedy, offering a framework for understanding Durang's plays through their comedic structure. This exploration proves fruitful and necessary for contextualizing the plays, as most of Durang's work is characterized by its wild humor along with elements of the grotesque, darkness, and offense. Comedic theory is a welcome framework for further exploration when Durang's œuvre is examined collectively, and its consistent inclusion throughout the rest of the text would have strengthened the volume even more.&lt;/p&gt; &lt;p&gt;The body of the text is organized thematically, grouping plays into five categories across five chapters. Chapter 1, \"Perverting the Classics,\" examines Durang's plays that parody classic works of literature and drama. Chirico observes that Durang often deliberately \"misreads\" his source material, resulting in \"an all-out war, a barbaric yawp in the stoic face the classics\" (21). Rather than approaching his parodies with reverence or homage, Durang tears them apart and the results are \"riotously funny\" (21). The chapter analyzes several of Durang's parodies, uncovering his penchant for \"joyful bloodletting\" of the classic works he targets (22).&lt;/p&gt; &lt;p&gt;Chapters 2, 4, and 5 continue to analyze Durang's works ","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"57 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142637149","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 Grammar of Abolition: Black Theatrical Geographies","authors":"Leticia L. Ridley","doi":"10.1353/tj.2024.a943404","DOIUrl":"https://doi.org/10.1353/tj.2024.a943404","url":null,"abstract":"<p><p>Abstract:</p><p>Black theatremakers have utilized performance to imagine and stage an alternative place where policing is abolished. They usurp the normative theatrical apparatuses to enact countergeographies that become meaningful ways to resist social control. In so doing, they inhabit (and push other artists and audiences to inhabit) theatre differently through transforming the geography of the theatre itself. Dominique Morisseau, Erika Dickerson-Despenza, Aleshea Harris, and Jordan Cooper urge us to see how their spatial construction is central to nourishing and emphasizing Black ways of knowing and being in the theatre. Through their dramaturgical structures within and beyond the plays themselves, I argue that these artists also consider how theatrical space can be manipulated to create alternative rules of engagement whereby blackness can be negotiated, produced, and known on different terms that the carceral system may dictate. In the broadest sense, I advocate for critical attention to the intersections of abolition, space, and Black theatre. This essay is about how space functions as a theatrical apparatus of anti-Black exclusion while also serving as the canvas for Black artists to revolt within, against, and in the face of anti-Black terror.</p></p>","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"13 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142637146","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":"Decarcerating the University: A Roundtable Discussion","authors":"Courtney Erin Colligan, Aaron Moore Ellis, Nicholas Fesette, Donatella Galella, Megan E. Geigner, Lindsay Livingston, Ariel Nereson, Leticia L. Ridley, Misty Saribal","doi":"10.1353/tj.2024.a943394","DOIUrl":"https://doi.org/10.1353/tj.2024.a943394","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; Decarcerating the University:&lt;span&gt;A Roundtable Discussion&lt;/span&gt; &lt;!-- /html_title --&gt;&lt;/li&gt; &lt;li&gt; Courtney Erin Colligan (bio), Aaron Moore Ellis (bio), Nicholas Fesette (bio), Donatella Galella (bio), Megan E. Geigner (bio), Lindsay Livingston (bio), Ariel Nereson, Leticia L. Ridley (bio), and Misty Saribal (bio) &lt;/li&gt; &lt;/ul&gt; &lt;p&gt;This roundtable discussion took place on Zoom on June 6, 2024, and grew out of the learning that I have experienced through the collective work of the voices assembled here: through various gatherings and actions, often at the Association for Theatre in Higher Education (ATHE) conference, this group of scholar-artist-activists has pushed our field to directly engage with the concerns of abolition and decarceration. Their &lt;u&gt;Zine&lt;/u&gt;, included in this issue's Online Section, offers theatre, dance, and performance studies direct actions as well as philosophical inspiration for decarcerating our campuses, classrooms, and studios, and relations with one another and our own minds. I encourage readers to consult the &lt;u&gt;Zine&lt;/u&gt; in their research, teaching, and community engagement efforts toward abolition. This roundtable is a way for those conversations to continue and to respond to ongoing crises and current world affairs. —Ariel Nereson, &lt;em&gt;Theatre Journal&lt;/em&gt; coeditor&lt;/p&gt; Misty Saribal (MS): &lt;p&gt;Our first question is, how can performance studies contribute to what contemporary abolition elders are calling for, which is the abolition of campus police and any ties to the prison industrial complex? I'm thinking about Davarian Baldwin when he talks about how higher ed campuses should be ground zero for police abolition, in part, he argues, because some campuses have the newest police departments, and some of them still do not [have police departments].&lt;sup&gt;1&lt;/sup&gt; However, we're presently seeing, with the campus Palestinian BDS solidarity demonstrations and encampments, the unfinished but necessary Cops Off Campus movement, which is a great group that I have been involved with. And when I see [list(s) like] Eight Actions to Grow Abolition,&lt;sup&gt;2&lt;/sup&gt; I always want to add to the list—make friends with people in the arts and theatre departments! We have great props, we know how to stage protests, direct chants, perform and communicate in live, spectacular, and impactful ways.&lt;/p&gt; &lt;p&gt;I want to start with an example of how performance and theatre contribute meaningfully to these abolition movements in material ways, to ponder how our skills might help with campus abolition movements. To get to my example, we did a disorientation &lt;strong&gt;[End Page E-1]&lt;/strong&gt; tour on Louisiana State University's campus before the pandemic, and we happened to just randomly find in the prop closet a giant black wooden coffin that said, \"RIP Education.\" And I decided everyone on the tour should carry this giant coffin around whi","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"160 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142637137","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}