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{"title":"Street Theatre in Pakistani Punjab: The Case of Ajoka, Lok Rehas, and the Woman Question","authors":"Fawzia Afzal‐Khan","doi":"10.2307/1146608","DOIUrl":"https://doi.org/10.2307/1146608","url":null,"abstract":"The Parallel Theatre Movement, or \"Street Theatre\" as it is loosely called, in the province of the Punjab, Pakistan, emerged during the repressive era of General Zia-ul-Haque's Martial Law regime (1979-1989).' This form of theatre raises several questions about the nature of the relationship between the Pakistani \"Islamic\" state and society. The most pertinent of these for my project is the question of the state's coercive relationship with its female citizenry. Related to this is the issue of male-female relationships in the society and how these relationships are complicated by class stratifications that inevitably affect the way gendered politics (and policies) actually get played out. There is also the increasingly vexed issue of national versus ethnic identity-a conflict which is reflected through the language politics of the theatre groups; linguistic choices reveal the groups' conflicting and often self-contradictory ideological stands on this question. In choosing to focus on such an area of inquiry for a (so-called) postcolonial project, I am seeking to re-site the question \"Who decolonizes?\" that Gayatri Spivak insists we confront in her afterward to Imaginary Maps (1995). This question forces us to reevaluate \"the task of the post-colonial,\" which, as Spivak sees it-and I agree-ought to involve a rigorous moving away from conflating \"Eurocentric migrancy with post-coloniality\" (Spivak 1995:203). In other words, let us, as postcolonial critics and scholars, turn our attention to \"other sites of enunciation,\" as Walter Mignolo has urged (1993:120). This \"turning elsewhere\" is really a turning inward toward the postcolonial nationstate in order to cast a critical gaze at a decolonizing process that has simultaneously constructed a normative constitutional subject of the \"new\" nation (Spivak 1995:2o3): in Pakistan's case, the middle class, urban and male, or the upper class, feudal and male. Within the last decade or so, Ajoka (the major Parallel Theatre group in Pakistan) as well as its regional spin-offs, notably","PeriodicalId":85611,"journal":{"name":"TDR news","volume":"32 1","pages":"39"},"PeriodicalIF":0.0,"publicationDate":"1997-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78830358","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":"Enactments of Power: The Politics of Performance Space","authors":"N. W. Thiong’o","doi":"10.2307/1146606","DOIUrl":"https://doi.org/10.2307/1146606","url":null,"abstract":"realm of values, this was expressed through performance. The community learned and passed its moral codes and aesthetic judgments through narratives, dances, theatre, rituals, music, games, and sports. With the emergence of the state, the artist and the state become not only rivals in articulating the laws, moral or formal, that regulate life in society, but also rivals in determining the manner and circumstances of their delivery. This is best expressed in Plato's dialogue: The Laws. The Athenian describes how they, as the representatives of the state, must respond should the tragic poets come to their city and ask for permission to perform:","PeriodicalId":85611,"journal":{"name":"TDR news","volume":"28 1","pages":"11"},"PeriodicalIF":0.0,"publicationDate":"1997-01-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79206181","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":"Striking Their Own Poses: The History of Cross-Dressing on the Chinese Stage","authors":"Chou Hui-ling","doi":"10.2307/1146629","DOIUrl":"https://doi.org/10.2307/1146629","url":null,"abstract":"The Chinese May Fourth New Cultural Movement, initiated by young intellectuals in the mid-19Ios, proclaimed an overall reform that had a profound impact on society. The movement generated debates that ranged from the Republic's organization of its political system to the character of the new nation's artistic activities. One of many debates was concerned with \"women's questions\": How could women leave the confinement of their \"embroidered chamber\" (xuo fang) and participate in the revolution? The May Fourth intellectuals' discussion of the \"women's question\" eventually overlapped with a proclamation for theatre reform, which had two tangible effects on Chinese performance. First of all, it encouraged young dramatists to create a new type of female character-xin nuxing (New Woman)-in huaju, or spoken drama, the Chinese generic description for dialog plays in the Western style.' Secondly, it invited women to perform on the modern stage, challenging the prejudice against actresses on the traditional stage that had begun in the late 1700s with the banning of women from the stage. Actually, one of the most distinctive and revolutionary characteristics of modern drama's representation of xin nuxing is that these roles were performed exclusively by women. In the early years of the May Fourth Movement, the xin nuxing characters were impersonated by men. In 1923, Chinese dramatists began to cast women in women's roles and men in men's, departing not only from the stage practice of female impersonation, which had been dominant for three centuries, but also from a more ancient history of male impersonation. Under the influence of Western realism, Chinese artists began to abandon traditional stylistic acting conventions and gradually to liberate themselves from the convention of cross-dressing as well as the traditional ideology of gender difference encoded in its gestures and costuming. To the May Fourth radicals, casting women in women's roles signaled a new gender ideology. First of all, it liberated women-especially well-educated women-from the confinement of domesticity, inviting them to consider stage performance as a professional career, to accept a public role, and to work side by side with men. Secondly, this new technique, which emphasized the direct conformity of the performer's biological sex with his or her stage","PeriodicalId":85611,"journal":{"name":"TDR news","volume":"72 1","pages":"130"},"PeriodicalIF":0.0,"publicationDate":"1997-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86344237","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":"Alicia Rios: Tailor of the Body's Interior: An Interview","authors":"B. Kirshenblatt-Gimblett, A. Ríos, C. Winks","doi":"10.2307/1146627","DOIUrl":"https://doi.org/10.2307/1146627","url":null,"abstract":"Cardiff, 1994. (Photo by Jaakko Rahola) In the damp grayness of a Welsh winter, we found ourselves digging for our food. It was time for lunch on the third day of \"Points of Contact: Performance, Food, and Cookery,\" a conference organized by the Center for Performance Research in Cardiff (13-16 January 1994). Responding to the summons \"please be prompt,\" we assembled at 1:30 P.M. for a \"performance buffet.\" Its creator, Alicia Rios, was ready for an afternoon in the garden. She wore a large apron, scarf, rubber gloves and boots, a hose around her waist, and gardening tools in her pockets. A watering can and wheelbarrow were close at hand. A vision in","PeriodicalId":85611,"journal":{"name":"TDR news","volume":"49 1","pages":"90"},"PeriodicalIF":0.0,"publicationDate":"1997-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75012858","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":"\"Sista Docta\": Performance as Critique of the Academy","authors":"Joni L. Jones","doi":"10.2307/1146624","DOIUrl":"https://doi.org/10.2307/1146624","url":null,"abstract":"Before I even open my mouth with these words and drummer Alli Aweusi strikes the first \"PA\" on the djembe, the critique of the academy has begun. sista docta was created in 1994 as seriate sketches that offer my commentary on being an African American woman professor at predominantly European American academic institutions.' This essay explores the ways performance in general, and sista docta specifically, challenges the academy's philosophy of inclusion and the academy's predilection for print scholarship. By the time I speak in sista docta, there has already been drumming, which invokes the long history of African American women in the academy. That history is a collective biography marked on the downside by exclusion, silence, and overt and covert discrimination, and on the upside by determination, courage, and achievement. While the genre of autobiography explores the singularity of experience, autobiography of marginalized peoples often serves as a collective biography, giving name to the experiences of many through the experience of one.2 In a discussion of Maya Angelou's autobiographical work, Selwyn Cudjoe explains that \"the Afro-American autobiography, a cultural act of selfreading, is meant to reflect a public concern rather than a private act of selfindulgence\" (1990:275). African American autobiography as collective cultural","PeriodicalId":85611,"journal":{"name":"TDR news","volume":"23 1","pages":"51"},"PeriodicalIF":0.0,"publicationDate":"1997-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87091664","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":"A Theatre of Taiwaneseness: Politics, Ideologies, and Gezaixi","authors":"Hu Chang","doi":"10.2307/1146628","DOIUrl":"https://doi.org/10.2307/1146628","url":null,"abstract":"In September 1990o, for the first time after four decades, the Taiwanese government decided to send a performance group to participate in a state-sponsored cultural event in Beijing-the Art Festival of the Asian Games. The decision was significant not only because the KMT (Kuomintang) government has been on bad terms with China's government since it lost the mainland to the Chinese Communist Party and retreated to Taiwan in 1949. It was also because the theatre group chosen as the representative of Taiwan was Minghuayuan, a newly emerged model troupe of gezaixi (Taiwanese opera). Gezaixi, in contrast to the widely studied jingju (Beijing opera), is little known in the West. Yet, in today's Taiwan, gezaixi is getting particular attention from intellectuals, politicians, the media, and the theatre world. This attention is generated mainly because gezaixi is widely recognized as \"a theatre of Taiwaneseness.\" Generally speaking, \"Taiwaneseness\" refers to the nature of Taiwanese culture and its presumed attributes. It is largely connected with the culture and history of southeastern Chinese immigrants who first arrived in numbers during the 17th century and continued pouring in through the Qing dynasty. It not only excludes the culture of the aborigines (mountain people),' who were the first settlers of the island, but also draws a line against the latest immigrants from all over mainland China in the 1940s. The \"Taiwaneseness\" designation is given partly because gezaixi is performed in Taiwanese, the \"mother tongue\" of the majority of Taiwan's population. Though not the only \"human theatre\" (as opposed to puppetry) performed in Taiwanese, it is the most popular, even if in decline. Chinese theatre genres that had existed on the island for a long time-such as budaixi, a type of Chinese hand puppetry, and liyuanxi, a theatre form popular in Taiwan since the I7th century-lost their popularity to gezaixi. Qiou Kunliang, in his pioneering research on the performing arts during the Japanese colonization (I895-I945), concludes that by I925 gezaixi had become the most popular theatre genre in Taiwan (1992:I86).","PeriodicalId":85611,"journal":{"name":"TDR news","volume":"28 1","pages":"111"},"PeriodicalIF":0.0,"publicationDate":"1997-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80331013","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":"Laurie Anderson for Dummies","authors":"Jon Mckenzie","doi":"10.2307/1146623","DOIUrl":"https://doi.org/10.2307/1146623","url":null,"abstract":"If language is a virus from outer space, performance is its downlink in the United States-and Laurie Anderson one of its most uncanny transmitters. Since the late I96os, Anderson's homey yet alien work has been short-circuiting the often great divides between street talk and philosophy, popular culture and experimental art, everyday life and its electronic ghost. Her preferred medium: an electric body in which gestures, stories, and songs mix with synthesizers, video projections, printed matter, and, most recently, personal computers. Over the years, this electric body has grown in crystalline fashion, its fractal structure reiterating and recombining simple components into diversifying assemblages. In 1974, Anderson performed Duets on Ice on the streets of New York, standing in skates with blades frozen in ice and playing cowboy songs on the Self-Playing Violin-an instrument whose music unwinds from magnetic tape loops. Twenty years later, this small bit haunts the edges of her latest media blitz, a storm of coordinated releases that include a worldwide tour of The Nerve Bible, two music CDs, a retrospective book, a proposal for a","PeriodicalId":85611,"journal":{"name":"TDR news","volume":"71 1","pages":"30"},"PeriodicalIF":0.0,"publicationDate":"1997-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85001740","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":"Legally Live: Performance in/of the Law","authors":"Philip Auslander","doi":"10.2307/1146622","DOIUrl":"https://doi.org/10.2307/1146622","url":null,"abstract":"In thinking about performance in relation to American law, I choose to focus on copyright and the law of evidence because these branches of jurisprudence address that relationship most immediately. Copyright governs the ownership and circulation of cultural objects and therefore determines the conditions under which performance participates in a commodity economy. As such, it is the branch of jurisprudence that deals most directly with the status of performance in the law. Evidence law regulates \"the proof used to persuade on fact questions at the trial of a lawsuit\" (Rothstein 1981:I); it therefore sets conditions that regulate the conduct of trials as performances of the law. I want here to survey statutes and decisions that shed light on both performance's status in the law and the nature of legal proceedings as performance. Although copyright and evidence are separate areas of law, considering them in relation to performance reveals that memory is a thematic common to both, perhaps the central thematic of law generally. Using the thematic of memory as a pivot point, my analysis moves from a consideration of performance in relation to copyright to a discussion of what the rules of evidence tell us about legal proceedings as performance. In so doing, it also moves from considering performance primarily in terms of cultural economy to questions that touch on what Peggy Phelan calls \"the ontology of performance\" (1993:146-66).","PeriodicalId":85611,"journal":{"name":"TDR news","volume":"1 1","pages":"9"},"PeriodicalIF":0.0,"publicationDate":"1997-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90366871","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":"A Perfect Theatre for One: Teaching \"Performance Composition\"","authors":"Deb Margolin","doi":"10.2307/1146625","DOIUrl":"https://doi.org/10.2307/1146625","url":null,"abstract":"Although it's arbitrary and overly dignified, I like the title of the course I teach: Performance Composition. I like to say it, I enjoy the syntactical formality of it with my tongue and teeth. I like the word \"composition\"; it makes me think of high school and of those black-and-white notebooks with the lines, waiting for words. I like the title most, though, because it accredits performance as something that gets composed, as opposed to something thrown together, heaved up, improvised, stolen from silence, torn from the mind like Athena from Zeus. I like the euphemism, the cover-up; performance is, from my perspective, all those things, and worse. Most courses in the NYU Performance Studies Department offer a syllabus, an exquisite reading list, a landscape of references and contexts. The only thing I know is how to get a show up, how to take personal experiences, obsessions, images, memories, desires, things overheard, things discarded, physical fantasies, and make performance art out of them. That is what I teach. And forget the Composition, I like Performance. I like the tiny, deeply telling ways in which it distinguishes itself from The Theatre, such as:","PeriodicalId":85611,"journal":{"name":"TDR news","volume":"334 1","pages":"68"},"PeriodicalIF":0.0,"publicationDate":"1997-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77775985","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":"Kenneth Branagh: With Utter Clarity. An Interview","authors":"P. Meier, Kenneth Branagh","doi":"10.2307/1146626","DOIUrl":"https://doi.org/10.2307/1146626","url":null,"abstract":"Kenneth Branagh's film version of Hamlet opened in the United States on Christmas Day 1996. Branagh also has directed Henry V (1989) and Much Ado About Nothing (1993) for the screen. He can justifiably be credited as the person most responsible for the rise of Shakespeare as a leading author for the contemporary cinema. In his casting, Branagh has pursued an international flavor, freely mixing Americans like Robin Williams, Billy Crystal, Denzel Washington, and Keanu Reeves with veteran British Shakespearean actors like John Gielgud, Derek Jacobi, and Richard Briers, as well as with actors from other European countries. This edited interview was recorded on 30 October 1995, at Branagh's office in Shepperton Studios, London, where he was about to begin shooting Hamlet.","PeriodicalId":85611,"journal":{"name":"TDR news","volume":"52 1","pages":"82"},"PeriodicalIF":0.0,"publicationDate":"1997-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80065264","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}