TDR news最新文献

{"title":"Invoking \"The Native\": Body Politics in Contemporary Hawaiian Tourist Shows","authors":"Jane C. Desmond","doi":"10.2307/1146662","DOIUrl":"https://doi.org/10.2307/1146662","url":null,"abstract":"","PeriodicalId":85611,"journal":{"name":"TDR news","volume":"44 1","pages":"83-107"},"PeriodicalIF":0.0,"publicationDate":"1997-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74205458","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":"Performative Politics and International Media","authors":"W. Sun","doi":"10.2307/1146656","DOIUrl":"https://doi.org/10.2307/1146656","url":null,"abstract":"In the fall issue of 1990, TDR published a reader's letter, \"No Secret Politics in the U.S.?\" from Anthony T. Speranza. Speranza argued, \"the opposition you make between the situation in China and the 'power of the media' and government openness in 'the West' misses the mark badly. [...Y]ou contribute to what might be called 'the myth of transparency' in the journalistic monitoring of our government\" (1990:15). Although this was a misreading of the Comment's point, which did refer to Western politicians' insincere display with the power of the media at their service, Speranza's term, \"the myth of transparency,\" is extremely pertinent. Unlike the Comment written seven years ago, which focused on the obvious problems of secretive politics, this one addresses the hidden danger of performative politics in the name of democracy, especially as it appears in the international media, which are now connecting more and more countries with TV satellites but not necessarily with true understanding. During the prodemocracy movement in 1989, the Chinese students and their supporters demanded openness and transparency of politics. They equated openness with more media coverage because media was strictly controlled by the government, whereas most Americans had long given up this naive belief of the pre-media age. To the idealistic Chinese, live media coverage, which was rare in China except for sports games, must be true and authentic, something like the picture of the Vietnamese monk immolating himself in front of a crowd in 1963-on the eve of the media age. That image shocked the world with its absolutely authentic truth and sparked organized demonstrations in the U.S. and China against the Vietnam War. To Thic Quang Duc, the martyred Buddhist monk, deception in front of the TV camera was a completely alien concept. Unfortunately, the lesson the world learned from Thic Quang Duc about the power of television just as quickly taught politicians to exploit the media with all kinds of disingenuous acts, creating what Speranza calls \"the myth of transparency.\" Like an effective new medicine, the media has made","PeriodicalId":85611,"journal":{"name":"TDR news","volume":"1 1","pages":"5"},"PeriodicalIF":0.0,"publicationDate":"1997-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80573876","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":"Performing/Annihilating the Word: Body As Erasure in the Visions of a Florentine Mystic","authors":"A. Maggi","doi":"10.2307/1146663","DOIUrl":"https://doi.org/10.2307/1146663","url":null,"abstract":"The object of this study is a unique case in the history of Western spirituality. I colloqui (The Dialogues), the transcriptions of the mystical monologues of Saint Maria Maddalena de' Pazzi (Florence, 1566-1607), questions the meaning of \"text\" and \"genre,\" the word's intrinsic performativity, the relationship between authorship and readership/audience, and, finally, the connection between gendered/sexual presence and discourse. Unlike any other mystical book, I colloqui is not the diegetic reportage of the ecstatic encounters between the divinity and a \"blessed soul.\" Maria Maddalena did not intend to communicate/teach us anything; not only did she not care for any form of audience or readership, she did not even want this book to be written. Indeed, to approach I colloqui correctly, two essential elements must be kept in mind: First, Maria Maddalena's mystic performances had a specific goal: the expression of the Word. The mystic believed that through oral language she might be able to evoke the Word's being. I colloqui reports the mystic's reiterated attempt to fulfill her task; I colloqui, we may say, is a work in progress. Second, I colloqui was not written by Maria Maddalena de' Pazzi. Her sisters of the Carmelite convent Santa Maria degli Angeli (Saint Mary of the Angels) in Florence transcribed, corrected, edited, and censored her monologues. As soon as the mystic entered a rapture, the nuns took pen and paper and jotted down as much as they could of her spoken words. When she whispered, trembled, screamed, performed a solo \"mystery play,\" spoke with a male voice in the person of the Father and/or the Word, Maria Maddalena was not addressing her audience, her convent sisters. She spoke exclusively because the Word wanted her to summon His being/voice. In the mystic's monologues the Word is the Other, that nonbeing that, as Emmanuel Levinas writes, both dominates and asks us to respond fully to His request for existence; it is that which gives and subtracts sense from our own existence (I981:2 I). Three brief passages from the mystic's monologues summarize this fundamental point:","PeriodicalId":85611,"journal":{"name":"TDR news","volume":"52 1","pages":"110"},"PeriodicalIF":0.0,"publicationDate":"1997-01-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86741459","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":"Rewriting the Script for South Indian Dance","authors":"M. Allen","doi":"10.2307/1146609","DOIUrl":"https://doi.org/10.2307/1146609","url":null,"abstract":"For the past several years I have been investigating the local circumstances of what is commonly referred to as a \"revival\" of dance in South India in the 1930s, working outward from a study of the padam genre of dance music.' Reading the work of Jennifer Post (1989), Regula Qureshi (1991), and Tapati Guha-Thakurta (1992), which describes and theorizes \"revivals\" in the performing and visual arts in the northern part of the subcontinent, has convinced me that the events in South India bear study as part of a larger pattern. Accordingly, I have been led to an investigation of pan-South Asian patterns of revival and of intellectual influences from outside South Asia upon these (self-consciously nationalistic) complexes of events. This study centers on Rukmini Devi (1904-1986), a central local figure in the South Indian revival of dance, and on Nataraja (literally, raja, king, of natanam, of dance), a primarily South Indian manifestation of the Hindu god Siva, who became the central icon and master metaphor for the revival of dance and, arguably, for the Indian nationalist movement as a whole. In an attempt to understand these local actors-one human, one divine-my gaze has been drawn outward from South India toward Bengal, which as the capital of British India served as a major conduit for intellectual currents between India and Europe; to the Theosophical Society (founded in 1875), a transnational creature bred by the United States, Europe, and India;2 to Ananda Kentish Coomaraswamy (1877-1947), initially a geologist, later a disciple of the British Arts and Crafts Movement, and finally a world-renowned aesthetician and historian of South Asian art; and to three American and European dancers who choreographed along Indian themes and performed these creations in the Americas, Europe, and Asia during the decades leading up to the revival. The term \"revival\" is a drastically reductive linguistic summary of a complex process-a deliberate selection from among many possibilities-which cries out to be examined from more than one point of view. While the \"revival\" of South Indian dance certainly involved a re-vivification or bringing back to life, it was equally a re-population (one social community appropriating a practice from another), a re-construction (altering and replacing elements of repertoire and choreography), a re-naming (from nautch and other terms to bharata natyam3), a re-situation (from temple, court, and salon to the public stage), and a re-storation (as used in Schechner 1985:69, a splicing to-","PeriodicalId":85611,"journal":{"name":"TDR news","volume":"6 1","pages":"63"},"PeriodicalIF":0.0,"publicationDate":"1997-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84892339","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":"\"Girl Who Loved Her Horses\": A One-Act Play for Young Audiences","authors":"D. Taylor","doi":"10.2307/1146614","DOIUrl":"https://doi.org/10.2307/1146614","url":null,"abstract":"There are two things I wish to share with you about my play Girl Who Loved Her Horses, seminal things that by themselves have no relation to each other. But somehow the two came together, and Danielle, better known as the Girl Who Loved Her Horses, was born. When I was about eight years old, my grandfather took me to a fair in Campbelford, a small town in central Ontario, Canada. Since Campbelford is primarily an agrarian community, it was just a farm fair. But to a small kid rarely off the even smaller Reserve I grew up on, it was an exciting trip into the unknown-an experience I wanted to milk for all it was worth. To top it off, I had a dollar in my hand and free run of the place. Kid Heaven. Back then a dollar could and did buy a lot of junk food. Broke within an hour, stuffed, and with lots of time left to kill, I found myself wandering about the fair, looking at all the farm animals and equipment, trying to keep myself amused until my grandfather told me it was time to leave. It wasn't long before I came upon a line of adults and kids, patiently waiting outside a small circular fence. Looking between the iron bars, I caught a glimpse at what all the excitement was about. In the center of the circle were four small ponies lashed to a revolving wheel. The adults were putting their children on these little ponies after paying some man for the privilege. I remember feeling a little envious, remembering my empty pockets and wishing for the never before experienced thrill of riding atop one of these animals. Contrary to popular belief, only a small percentage of Native communities have horses. Mine wasn't one of them.","PeriodicalId":85611,"journal":{"name":"TDR news","volume":"68 1","pages":"153"},"PeriodicalIF":0.0,"publicationDate":"1997-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74603532","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":"The Performance of healing","authors":"C. Laderman, M. Roseman","doi":"10.1525/9780520913707-007","DOIUrl":"https://doi.org/10.1525/9780520913707-007","url":null,"abstract":"Medical systems need to be understood from within, as experienced by healers, patients, and others whose minds and hearts have both become involved in this important human undertaking. Exploring how the performance of healing transforms illness to health, initiate to ritual specialist, the authors show that performance does not merely refer to, but actually does something in the world. These essays on the performance of healing in societies ranging from rainforest horticulturalists to dwellers in the American megalopolis will touch readers' senses as well as their intellects.","PeriodicalId":85611,"journal":{"name":"TDR news","volume":"1 1","pages":"86-112"},"PeriodicalIF":0.0,"publicationDate":"1997-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84094474","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":"Negotiating the \"River\": Intercultural Interactions and Interventions","authors":"R. Bharucha","doi":"10.2307/1146607","DOIUrl":"https://doi.org/10.2307/1146607","url":null,"abstract":"I would like to reflect on the river as a metaphor of cultural exchange in the larger context of intracultural interactions and interventions in theatre. By the \"intracultural\" I mean those exchanges within, between, and across regions in the larger framework of a nation. In our search for \"other cultures\" we often forget the cultures within our own boundaries, the differences which are marginalized and occasionally silenced in our imagined homogeneities. We also tend to valorize our own metaphors of \"culture,\" ignoring its multiple resonances to different communities. Keeping this in mind, I would acknowledge that the river is not just a metaphor of cultural exchange, nor is it merely a geographical phenomenon. To millions of Indians, it represents the most sacred site of numerous pilgrimages. At an archetypal level, rivers are at once the abodes and the personifications of deities, the sources of creation. The very names of rivers are like mantras: Ganga, Jamuna, Saraswati-the \"invisible\" Saraswati because she flows underground, where she meets her sisters in the most sanctified confluence of the sangam. It is at this mingling of waters where millions of pilgrims converge to immerse themselves in the waters, only to reemerge with a deep sense-or is it an illusion?-of being rejuvenated. What makes this moment so moving is its capacity to dissolve differences, cutting across class, caste, and community. But this \"dissolution\" is provisional. Once the pilgrims return to their respective homes, the hierarchies and violence of everyday life are reinstated.","PeriodicalId":85611,"journal":{"name":"TDR news","volume":"73 1","pages":"31"},"PeriodicalIF":0.0,"publicationDate":"1997-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86149374","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":"Echoing Autism: Performance, Performativity, and the Writing of Donna Williams","authors":"A. Flèche","doi":"10.2307/1146611","DOIUrl":"https://doi.org/10.2307/1146611","url":null,"abstract":"","PeriodicalId":85611,"journal":{"name":"TDR news","volume":"2 1","pages":"107"},"PeriodicalIF":0.0,"publicationDate":"1997-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82054765","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":"Witches, Bitches & Fluids: Girl Bands Performing Ugliness as Resistance","authors":"Karina Eileraas","doi":"10.2307/1146612","DOIUrl":"https://doi.org/10.2307/1146612","url":null,"abstract":"First, what do I mean by ugliness? I view it as an intentional deviation from \"nice, gentle, pretty\" ways of looking, talking, behaving, and visualizing. Contemporary girl bands deploy \"ugliness\" as a resistant practice that challenges cultural representations of \"pretty\" femininity. Specifically, I consider the following as sites of \"ugliness\" in girl-band performance: album cover art, image, voice, sound, language, lyrics, stage antics, sexuality, and the body. Ugliness as a resistant strategy in rock is not a novelty. Its most noteworthy (past) moment came in the 1970s with punk rock. The punk aesthetic, em-","PeriodicalId":85611,"journal":{"name":"TDR news","volume":"24 1","pages":"122"},"PeriodicalIF":0.0,"publicationDate":"1997-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78219024","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":"Storytelling to Stage: The Growth of Native Theatre in Canada","authors":"D. Taylor","doi":"10.2307/1146613","DOIUrl":"https://doi.org/10.2307/1146613","url":null,"abstract":"Native theatre is alive and well and living in Canada. I say this because, as I'm sure you are aware, Native theatre is amazingly strong, quite popular, and practically everywhere in the Canadian theatrical community. What once was barren is now bountiful. In 1986 there was perhaps one working Native playwright in all of Canada. Today I can list at least two dozen produced playwrights of aboriginal decent in Canada, and if that rate of increase continues, by the year 2040 it's conceivable that everybody in Canada will be a Native playwright! I have a humble theory as to why theatre seems to be the medium of choice for Native Canadians. We have novelists, we have short-story writers, we have musicians, we have actors, etc., but in terms of, I guess, per capita art form, it seems that theatre, for one reason or another, has become the predominant expressive vehicle for Canada's Native people. I believe the reason is that theatre is just a logical extension of storytelling. To look back at the roots and origins of traditional storytelling-not just Native storytelling but storytelling in general-it's about taking your audience on a journey through the use of your voice, your body, and the spoken word. And going from that onto the stage is just the next logical progression. Native people, who have an oral culture, really gravitate towards that, more so than, say, the written arts, where you have to have perfect English or grammatically correct writing. The sometimes spotty education that has been granted Native people by the government and various religious institutions has not been that great. That's one of the reasons I became a playwright: I write the way people talk, and the way people talk is not always grammatically correct, therefore I can get away with it. So in terms of the storytelling technique, if you look at its origins, it was, at its most basic, a way of relating the history of the community; it was a way of explaining human nature; it had metaphorical, philosophical, psychological implications-all within the story. Unfortunately, in today's society the Native legends of history have been relegated to quaint children's stories. But legends and stories were never meant to be strictly for children. They were always told for adults-as well as for children-because as you get older, you can tap into a whole new understanding of the story. It's like an onion: you can always peel away more and more to get to the core of the story.","PeriodicalId":85611,"journal":{"name":"TDR news","volume":"33 1","pages":"140"},"PeriodicalIF":0.0,"publicationDate":"1997-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84862038","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}