THEATRE JOURNAL最新文献_第4页

The Threat Is Now: Choreography, Temporality, and the Active Shooter Drill 威胁就在眼前：编舞、时间性与主动射击演习

IF 0.5 3区艺术学

THEATRE JOURNAL Pub Date : 2024-11-15 DOI: 10.1353/tj.2024.a943402

Shannon Woods

引用次数: 0

Consent Pedagogies: Classroom Lessons from Intimacy Practice 同意教学法：亲密关系实践的课堂教学

IF 0.5 3区艺术学

THEATRE JOURNAL Pub Date : 2024-11-15 DOI: 10.1353/tj.2024.a943397

Lindsay Brandon Hunter

{"title":"Consent Pedagogies: Classroom Lessons from Intimacy Practice","authors":"Lindsay Brandon Hunter","doi":"10.1353/tj.2024.a943397","DOIUrl":"https://doi.org/10.1353/tj.2024.a943397","url":null,"abstract":"In lieu of an abstract, here is a brief excerpt of the content:\u0000 <ul> <li> Consent Pedagogies:Classroom Lessons from Intimacy Practice </li> <li> Lindsay Brandon Hunter (bio) </li> </ul> In 2023, I took part in a conversation gathered under the title \"Decarcerating the Field: Building Abolitionist Networks of Care at ATHE\" at the Association for Theatre in Higher Education conference in Austin, Texas. Where others entered that conversation from a more explicitly abolitionist perspective, I had proposed to offer something that seemed perhaps less intuitive: I wanted to talk about doing intimacy work in academic theatre, and in particular about how my own training and practice in intimacy choreography for the stage has inflected my pedagogy—including my non-teaching work in helping to administer programs and make policy. Although a connection between intimacy choreography and abolitionist practice may not seem plain at first blush, I wanted to speak about how a sustained focus on consent-based practice in classrooms and rehearsal halls has illuminated for me the extent to which our institutions seek to control students, frequently in ways that uncomfortably resemble policing. Even as I made this case to the group convening at ATHE, I debated whether it was apt to connect highly professionalized discourses about consent in working and teaching contexts to the fundamental and profound commitments that drive abolition activism. The codification of best practices that has been part of intimacy work's relatively rapid ascendance is quite clearly an investment in progressive reform, and so in some ways is antithetical to an abolitionist mode. To speak more honestly, I was afraid that for some folks who work in theatres and universities, enthusiasm for the reform promised by intimacy and consent work might register primarily as a professional fad, or worse: as itself an exercise in controlling or policing students, in the sense that it could involve drilling them to comply with professional standards. I worried, too, that words like \"boundaries\" and \"consent\" might read as liberalist buzzwords, [End Page E-31] or that some audiences might find in them echoes of a carceral feminism aligned with policing even as it co-opts the language of abolition.1 Still, it remains true that a sustained focus on consent—which I offer here not as a panacea, or a set of rules for disciplining behavior, but specifically as an orientation away from coercion and toward self-determination, one which I continue to interrogate and revise—has quietly remade my teaching in ways that I think resonate with aspects of abolition work. Engagement with intimacy work has catalyzed a significant and continual grappling with the power I wield over students, perhaps similar to the way other developments in the past handful of years have called teachers to co","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"5 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142637141","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

Abolitionist Laughter: The Joint Movement to #StopCopCity 废奴主义者的笑声：制止警察城的联合运动

IF 0.5 3区艺术学

THEATRE JOURNAL Pub Date : 2024-11-15 DOI: 10.1353/tj.2024.a943401

Nicholas Fesette

引用次数: 0

The Unbearable Whiteness of John Brown: Theatrical Legacies and Performing Abolition 约翰-布朗难以忍受的白化：戏剧遗产与废奴表演

IF 0.5 3区艺术学

THEATRE JOURNAL Pub Date : 2024-11-15 DOI: 10.1353/tj.2024.a943398

Ben Spatz, SAJ, Eero Laine, Michelle Liu Carriger, Henry Bial

{"title":"The Unbearable Whiteness of John Brown: Theatrical Legacies and Performing Abolition","authors":"Ben Spatz, SAJ, Eero Laine, Michelle Liu Carriger, Henry Bial","doi":"10.1353/tj.2024.a943398","DOIUrl":"https://doi.org/10.1353/tj.2024.a943398","url":null,"abstract":"Abstract:John Brown is a figure so intensely contested as to embody diametrically opposed meanings according to the varied contexts in which his image has been activated. At times hailed as the man who started the US Civil War, Brown has been variously described as a righteous abolitionist, a religious zealot, a gifted orator, a formidable military strategist, a self-appointed white savior, and a madman. Today, Brown is conjured in the name of all manner of causes, from leftist gun clubs to collegiate sports, while his theatricalized image is activated in wildly disparate ways. The apparent singularity of Brown as a historical figure, together with his ready adoption and deployment across various arenas—from entertainment to revolutionary politics—presents a problem familiar to theatre and performance scholars, namely the space between the image or concept of a person (or a character) and their actual performance, in life or onstage. There is perhaps an obvious tension in the ways that John Brown is remembered and reperformed and for whom he is remembered and reperformed. Or, as Ted A. Smith points out in thinking with Brown: \"An image, however iconic, is not an argument.\"","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"7 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142637144","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

Staging Haiti in Nineteenth-Century America: Revolution, Race and Popular Performance by Peter P. Reed (review) 十九世纪美国的海地舞台：革命、种族与大众表演》，彼得-P-里德著（评论）

IF 0.5 3区艺术学

THEATRE JOURNAL Pub Date : 2024-11-15 DOI: 10.1353/tj.2024.a943421

Guo Shuyu

{"title":"Staging Haiti in Nineteenth-Century America: Revolution, Race and Popular Performance by Peter P. Reed (review)","authors":"Guo Shuyu","doi":"10.1353/tj.2024.a943421","DOIUrl":"https://doi.org/10.1353/tj.2024.a943421","url":null,"abstract":"In lieu of an abstract, here is a brief excerpt of the content:\u0000 Reviewed by: <ul> <li> Staging Haiti in Nineteenth-Century America: Revolution, Race and Popular Performance by Peter P. Reed </li> <li> Guo Shuyu </li> </ul> STAGING HAITI IN NINETEENTH-CENTURY AMERICA: REVOLUTION, RACE AND POPULAR PERFORMANCE. By Peter P. Reed. Cambridge: Cambridge University Press, 2022; pp. 231. Peter P. Reed's new and prodigious volume, Staging Haiti in Nineteenth-Century America: Revolution, Race, and Popular Performance, offers a comprehensive [End Page 411] overview of the impact of the Haitian Revolution, particularly its manifestations in nineteenth-century US performance by generations of French colonial refugees, abolitionists, writers, students, and Black celebrities in distinctive ways. Through insightful analysis of performances, supported by extensive historically visual and printed archives, Reed traces the evolution of \"staging Haiti\" from the 1790s Haitian Revolution in the 1790s to the 1860s US Civil War. Throughout this nearly century-long transatlantic engagement, Reed dissects how Haiti redefined US popular culture, reshaping the country's fundamental views on race, power, identity, and freedom through the interaction between actor-audience. Remarkable in its breadth and depth, Staging Haiti also fills a significant gap in theatre and performance studies, which has not attended fully to the island nation's cultural and political influences. Reed divides his book into six chronological chapters. Each contains several sections providing complementary analysis to its given topic. The book is structured around a central dialectic: white Americans' mixed feelings toward slave insurrection—fear and loathing of its horror and aftermaths, but curiosity and even obsession with it. Reed reveals these central dialectical ambiguities, as he understands them, through detailing \"the horrors of Saint Domingue\" in the introduction (14). In the way of Brechtian \"historification,\" by which Reed traces the origins of those mixed feelings through the original Haitian revolution, he unravels to readers the deep-seated paradox toward enslavement in their own culture. More of an emotional analysis, it adds factual and historical explanation to Reed's larger argument as it demonstrates how the Haitian Revolution influenced racial and political debates in the United States. The many illustrations in the book from literature, theatre, and public speeches, among other performance forms, attest to Americans' fascination with the Haitian Revolution. Chapter 1 delves into the initial theatre of the Haitian Revolution with John Murdock's 1795 play The Triumph of Love, or Happy Reconciliation. Although the play itself \"foregrounded the experiences of the largely white [characters]\" (179), Reed focuses his ana","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"98 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142637152","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

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

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

{"title":"Stereophonic by David Adjmi (review)","authors":"Elizabeth L. Wollman","doi":"10.1353/tj.2024.a932169","DOIUrl":"https://doi.org/10.1353/tj.2024.a932169","url":null,"abstract":"In lieu of an abstract, here is a brief excerpt of the content:\u0000 Reviewed by: <ul> <li> Stereophonic by David Adjmi </li> <li> Elizabeth L. Wollman </li> </ul> STEREOPHONIC. By David Adjmi, with music by Will Butler. Directed by Daniel Aukin. Playwrights Horizons, New York. October 15 and November 26, 2023. When Stereophonic began previews in October 2023, David Adjmi argued that despite its setting in a 1970s recording studio and its focus on a newly famous rock group under pressure to top the success of their debut album, the piece was not a musical, but instead a “play with music.” The playwright professed an “allergy” to musicals, which to him reflected a “calcified idea” of “how music should feel in the theatre.” Such a distaste for musicals is standard among theatremakers who mine aspects of the rock world for the stage; more often than not, musicals are loudly dismissed as too commercial and formalistic to properly capture rock’s purportedly superior artistic “realness.” Theatre critics tend to blithely accept and regurgitate such rockist attitudes. It’s no big surprise, then, that virtually every critic covering Stereophonic followed Adjmi’s lead by eschewing the musical theatre label as inaccurate for a show so authentic that it defied traditional descriptors. In his rave for the Washington Post, Peter Marks called Stereophonic “one of the best works of narrative art about the day-to-day grind and emotional toll of artistic creation,” compared aspects of it to those of Waiting for Godot, and described its characters as “refugees from classic drama.” The New York Times’ Jesse Green gushed that terms like “play with music,” “musical,” and even amalgams like “playical” fail Stereophonic, which never foundered, “as most theatrical treatments of the artistic process do, on either side of the genre divide.” Vulture’s Jackson McHenry likened Stereophonic to a “fugue” built of naturalistic threads that together wove “incandescent art.” “If you’ve recently tried to sate yourself with imitation-crab rock-history dramatizations like Daisy Jones and the Six,” he assured his readers, “you’ll find that Stereophonic is, refreshingly, the real thing.” Don’t tell McHenry, but Stereophonic is more a companion to Daisy Jones than it is an artistically superior achievement to the television miniseries. Both are accessible entertainments that allow for fly-on-the-wall views of beautiful, overwhelmingly white musicians who fall in and out of love, swill and snort to excess, and argue, sometimes bitterly, as they toil away at making music together. Most obviously, both use Fleetwood Mac’s most celebrated lineup (drummer Mick Fleetwood, pianist/vocal-ist Christine McVie, bassist John McVie, guitarist/vocalist Lindsey Buckingham, sin","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"26 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141750230","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

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

{"title":"Macbeth by William Shakespeare (review)","authors":"Paul Innes","doi":"10.1353/tj.2024.a932173","DOIUrl":"https://doi.org/10.1353/tj.2024.a932173","url":null,"abstract":"In lieu of an abstract, here is a brief excerpt of the content:\u0000 Reviewed by: <ul> <li> Macbeth by William Shakespeare </li> <li> Paul Innes </li> </ul> MACBETH. By William Shakespeare. Directed by Richard Twyman. Dubai Opera House, Dubai. November 4, 2023. Major theatrical productions were understandably on hiatus in the United Arab Emirates during the COVID-19 emergency. Large-scale events are beginning to resume, however, and the cooperative production of Macbeth—jointly produced by English Touring Theatre, Northern Stage, Shakespeare North Playhouse, and Théâtres de la Ville de Luxembourg—was a landmark event in post-pandemic Dubai. The set remained unchanged throughout the performance, varied only in its presentation by the use of props, drapes, and screens mounted on the walls above the main playing space. The costuming was relatively neutral modern dress, and many of the minor roles were played by very young women. The sound design, featuring music by Louis Armstrong, for example, gave the production a 1920s feel, presumably intended to convey a society on the brink of catastrophe by conjuring up imminent stock market crashes and impending war. The action of this Macbeth began with Lady Macbeth’s soliloquy from act 1, scene 5, so it was clear from the outset that this was going to be no ordinary presentation of the play. The focus on an individual character out of sync with the standard text of the play demonstrated a particularly intense emphasis on the main characters. The production continued throughout to rewrite the text by inserting plot elements—especially those relating to the Weird Sisters—at various unexpected points in the visual and narrative structure of events. Click for larger view View full resolution Laura Elsworthy as Lady Macbeth in Macbeth. (Photo: The Other Richard.) The result was a psychological character study of Macbeth’s descent into wild tyranny. After the banquet scene, for instance, Macbeth isolated himself even from his wife by leading her into their bedroom through a rear door before slamming it on her and [End Page 231] drawing drapes across it. The production consistently concentrated on Macbeth’s centrality, with the effect of turning the play into something like a horror story. At several points, Macbeth mimed the Weird Sisters almost as though he were possessed; the screens above the stage accompanied his performance with the sound of voices that would not be out of place in The Exorcist. No actors played the roles of the witches; the combination of screen imagery and Macbeth’s ventriloquism worked to modernize characters that can cause so many problems for contemporary audiences, thus avoiding kitsch presentations that verge on cackling crones. Click for larger view View full resolution ","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"306 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141755359","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

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":"In lieu of an abstract, here is a brief excerpt of the content:\u0000 Reviewed by: <ul> <li> Shakespeare and Latinidad ed. by Trevor Boffone and Carla Della Gatta </li> <li> Dennis Sloan </li> </ul> SHAKESPEARE AND LATINIDAD. Edited by Trevor Boffone and Carla Della Gatta. Edinburgh: Edinburgh University Press, 2021; pp. 236. In Shakespeare and Latinidad, 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. Boffone and Della Gatta structure Shakespeare and Latinidad 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 The Tragic Corrido of Romeo and Lupe,” offer heavily sourced theoretical explorations, others, such as Migdalia Cruz’s “What I Learned from My Shakespeare Staycation with Macbeth and Richard III,” 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. 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 Measure for Measure and in a bilingual production of Nilo Cruz’s Hamlet: Prince of Cuba. In “¡O Romeo! 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":"48 1","pages":""},"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

引用次数: 0