{"title":"Rehearsal Studies","authors":"Joseph Roach","doi":"10.1017/S1054204324000145","DOIUrl":"https://doi.org/10.1017/S1054204324000145","url":null,"abstract":"Exploring diverse strategies of process-focused research from historical reconstructions of period practices to staged intimacy coaching, seven new titles offer a representative but not exhaustive overview of the expanding field of rehearsal studies.","PeriodicalId":517571,"journal":{"name":"TDR: The Drama Review","volume":"41 6","pages":"169 - 176"},"PeriodicalIF":0.0,"publicationDate":"2024-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141403586","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"“You act as Human, and I will act as AI”","authors":"Kathy Fang","doi":"10.1017/s1054204324000042","DOIUrl":"https://doi.org/10.1017/s1054204324000042","url":null,"abstract":"Chatbots and natural language processing tools have emerged as a ubiquitous yet exceptional development of algorithmic performativity. The release of ChatGPT on 30 November 2022 signaled a sea change in language-learning technological-performative relations. ChatGPT programs human knowledge as a stylized, computational performance and rehearses the human as technological.","PeriodicalId":517571,"journal":{"name":"TDR: The Drama Review","volume":"48 11","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141279348","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"TDR volume 68 issue 2 Cover and Front matter","authors":"","doi":"10.1017/s1054204324000157","DOIUrl":"https://doi.org/10.1017/s1054204324000157","url":null,"abstract":"","PeriodicalId":517571,"journal":{"name":"TDR: The Drama Review","volume":"23 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141280329","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Environmental Horror and White Extinction","authors":"Nik Wakefield","doi":"10.1017/s1054204324000029","DOIUrl":"https://doi.org/10.1017/s1054204324000029","url":null,"abstract":"A literalist ecological approach to performance studies rematerializes theatre beyond a racist anthropocentricity of metaphorical representation and proposes a path to intersectional environmental justice. Escaped Alone (2016) by Caryl Churchill presents a horrifically accurate report of ecological harm. The Evening (2016) by Richard Maxwell and the New York City Players imagines an extinction of whiteness. Both productions propose new understandings of ecology through reconfiguring the theatrical conditions of representation.","PeriodicalId":517571,"journal":{"name":"TDR: The Drama Review","volume":"2 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141274880","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Notes on Hope","authors":"Peggy Phelan","doi":"10.1017/s105420432400011x","DOIUrl":"https://doi.org/10.1017/s105420432400011x","url":null,"abstract":"Writers and readers cocreate books. Over time, certain readings, even if they are misreadings, come to summarize the book so thoroughly that the book gets transformed into a chapter, a paragraph, a sentence. While chapter 7 of Unmarked, “The Ontology of Performance,” is the most frequently cited, the Afterword’s meditation on misunderstanding may be the most hopeful for future scholarship.","PeriodicalId":517571,"journal":{"name":"TDR: The Drama Review","volume":"80 7","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141280732","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"TDR volume 68 issue 2 Cover and Back matter","authors":"","doi":"10.1017/s1054204324000169","DOIUrl":"https://doi.org/10.1017/s1054204324000169","url":null,"abstract":"","PeriodicalId":517571,"journal":{"name":"TDR: The Drama Review","volume":"15 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141277410","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"WAKE","authors":"J. Carlón","doi":"10.1017/s1054204324000108","DOIUrl":"https://doi.org/10.1017/s1054204324000108","url":null,"abstract":"WAKE is a queer postcolonial ritual centering grief, healing, and solace through movement within the collective. Created by choreographer Jay Carlon with collaborator and vocalist Micaela Tobin, alongside a live electronic musical score, WAKE is a meditative performance imbued with images, sound, and objects derived from Carlon’s Filipinx heritage and dedicated to those born in the wake of US imperialism.","PeriodicalId":517571,"journal":{"name":"TDR: The Drama Review","volume":"8 7","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141274584","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Theatre as Refuge","authors":"Emily Goodling","doi":"10.1017/s1054204324000091","DOIUrl":"https://doi.org/10.1017/s1054204324000091","url":null,"abstract":"Sich waffnend gegen eine See von Plagen (To Take Arms against a Sea of Troubles, 2022) premiered at Germany’s Schaubühne theatre seven months after the start of the war of aggression in Ukraine. The piece comments on the broader significance of the war within Europe, while also zooming in on the protective potentialities of theatre itself, as institution and praxis.","PeriodicalId":517571,"journal":{"name":"TDR: The Drama Review","volume":"64 9","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141279884","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Sound Against Music","authors":"Benjamin Piekut","doi":"10.1017/s1054204324000066","DOIUrl":"https://doi.org/10.1017/s1054204324000066","url":null,"abstract":"The Judson generation of artists (Rainer, Forti, Childs, Paxton, and others) introduced a conceptual distinction between music and sound that amounted to a soft critique of the institution of music. Dance in the 1960s was a fitting site for this critique due to the generative work of John Cage and the increasingly widespread availability of the technological means for working with sound. These two conditions undermined the institutionalization of musical expertise and opened up the field to amateurs from other disciplines.","PeriodicalId":517571,"journal":{"name":"TDR: The Drama Review","volume":"41 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141277880","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Zuckerberg’s Smile, or Presence in the Age of Digital Technologies","authors":"Diana Taylor","doi":"10.1017/s1054204324000133","DOIUrl":"https://doi.org/10.1017/s1054204324000133","url":null,"abstract":"AI and AR do not merely coexist with the archive and repertoire as modes of transmission but profoundly alter them and prove profoundly anti-archival. “Live” transmission from body to body is radically altered by digital technologies that simulate presence. “Feeling truly present with another person,” Mark Zuckerberg stated, “is the ultimate dream of social media.” He aspires to create an avatar that can simulate an emotion that he cannot express—and make him more human. Are we being led back into Plato’s cave? Artists and humanists must be centrally involved in the epistemic, ontological, and political changes that accompany these new and evolving forms of transmission.","PeriodicalId":517571,"journal":{"name":"TDR: The Drama Review","volume":"61 21","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141279702","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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