For the last two years, I have been conducting research that positions Heidi Schreck’s predominantly one-woman play, What the Constitution Means to Me (2019, dir. Oliver Butler), which she both wrote and starred in, within a canon of feminist storytelling and scholarship. On June 24, 2022, one day before I shared my findings at the international feminist media studies conference “Console-ing Passions,” the Supreme Court of the United States (SCOTUS) issued its decision in Dobbs v. Jackson Women’s Health Organization. With its overturning of Roe v. Wade, I found myself, like Schreck, having to add devastating corrections to an already tragic script. Unlike me, though, Schreck anticipated the ever-changing present, noting in the play’s stage directions that certain data in the script “are based on published statistics from the National Sexual Violence Resource Center in the year 2019. They should be updated in performance to reflect the current reality” (38).
在过去的两年里，我一直在进行一项研究，将海蒂·施雷克(Heidi Schreck)的独角戏《宪法对我意味着什么》(What the Constitution to Me, 2019年，导演)定位为《奥利弗·巴特勒》(Oliver Butler)，她自己编剧并主演了这部电影，堪称女权主义叙事和学术的典范。2022年6月24日，就在我在国际女权主义媒体研究会议“抚慰激情”上分享我的发现的前一天，美国最高法院(SCOTUS)发布了多布斯诉杰克逊妇女健康组织案的判决。随着罗伊诉韦德案(Roe v. Wade)的判决被推翻，我发现自己和施莱克一样，不得不在本已悲惨的剧本上添加毁灭性的修正。不过，与我不同的是，施雷克预测到了不断变化的现实，他在剧本的舞台指示中指出，剧本中的某些数据“是基于2019年国家性暴力资源中心(National Sexual Violence Resource Center)公布的统计数据”。它们的执行情况应加以更新，以反映当前的现实”(38)。
{"title":"What the Constitution Means to Me Now That Roe Is Dead: Seeing Hopeful Solidarity in the Anzaldúan Nepantla","authors":"L. Stevenson","doi":"10.1353/tt.2023.a901203","DOIUrl":"https://doi.org/10.1353/tt.2023.a901203","url":null,"abstract":"For the last two years, I have been conducting research that positions Heidi Schreck’s predominantly one-woman play, What the Constitution Means to Me (2019, dir. Oliver Butler), which she both wrote and starred in, within a canon of feminist storytelling and scholarship. On June 24, 2022, one day before I shared my findings at the international feminist media studies conference “Console-ing Passions,” the Supreme Court of the United States (SCOTUS) issued its decision in Dobbs v. Jackson Women’s Health Organization. With its overturning of Roe v. Wade, I found myself, like Schreck, having to add devastating corrections to an already tragic script. Unlike me, though, Schreck anticipated the ever-changing present, noting in the play’s stage directions that certain data in the script “are based on published statistics from the National Sexual Violence Resource Center in the year 2019. They should be updated in performance to reflect the current reality” (38).","PeriodicalId":209215,"journal":{"name":"Theatre Topics","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121433849","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}
Pub Date : 2023-07-01DOI: 10.1007/978-3-030-69555-2
J. Cole
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Reviewed by: The Great European Stage Directors, Volume 1: Antoine, Stanislavski, Saint-Denis ed. by Peta Tait, and: The Great European Stage Directors, Volume 2: Meyerhold, Piscator, Brecht ed. by David Barnett, and: The Great European Stage Directors, Volume 3: Copeau, Komisarjevsky, Guthrie ed. by Jonathan Pitches, and: The Great European Stage Directors, Volume 4: Reinhardt, Jessner, Barker ed. by Michael Patterson Ryan M. Prendergast The Great European Stage Directors, Volume 1: Antoine, Stanislavski, Saint-Denis. Edited by Peta Tait. Great Stage Directors series. London: Methuen Drama, 2019; pp. xi + 225. The Great European Stage Directors, Volume 2: Meyerhold, Piscator, Brecht. Edited by David Barnett. Great Stage Directors series. London: Methuen Drama, 2019; pp. xi + 226. The Great European Stage Directors, Volume 3: Copeau, Komisarjevsky, Guthrie. Edited by Jonathan Pitches. Great Stage Directors series. London: Methuen Drama, 2019; pp. xii + 204. The Great European Stage Directors, Volume 4: Reinhardt, Jessner, Barker. Edited by Michael Patterson. Great Stage Directors series. London: Methuen Drama, 2019; pp. xiii + 203. "[W]ho would unite so many scattered elements? Who would give the signal?" (1:31). These queries of stage director André Antoine about his leadership of the Cercle Gaulois encapsulate the challenges facing those writing the history of stage direction. The role's malleable scope and evolving identity over time demand nuance and expertise with various disciplines, practices, and artists. Under the editorial guidance of Simon Shepherd, Methuen Drama's series The Great European Stage Directors answers these challenges by providing an essential and compact resource directed at students, academics, and practitioners. Although the blurb for the series hazards overstatement by deeming itself "authoritative" and "comprehensive," the series' overall ambit engenders a substantive engagement with the topic and associated fields. Rather than offer grand narratives, each volume in the series focuses on three specific directors whose lives, careers, and legacies span various practices, traditions, and chronologies. The complete series totals eight volumes, but Methuen Drama has released it evenly as two subseries, with the mid-twentieth century as a line of demarcation. [End Page 112] (Methuen Drama has also published a congruent series for North American stage directors.) The editorial selection of "great directors" may prompt questions about "canonic" status. Shepherd, however, states in the series introduction (reprinted in each volume) that "[c]elebrity is not in itself necessarily relevant to being important" (1:5). Individual volumes further complicate the reception of their subjects, and some authors decry any innocence in using the adjective "great." To borrow from Jonathan Pitches's introduction to Volume 3, the importance of the directors chosen for the series stems not only from their individual accomplishments "but becaus
{"title":"The Great European Stage Directors, Volume 1: Antoine, Stanislavski, Saint-Denis ed. by Peta Tait, and: The Great European Stage Directors, Volume 2: Meyerhold, Piscator, Brecht ed. by David Barnett, and: The Great European Stage Directors, Volume 3: Copeau, Komisarjevsky, Guthrie ed. by Jonathan Pitches, and: The Great European Stage Directors, Volume 4: Reinhardt, Jessner, Barker ed. by Michael Patterson (review)","authors":"","doi":"10.1353/tt.2023.a901207","DOIUrl":"https://doi.org/10.1353/tt.2023.a901207","url":null,"abstract":"Reviewed by: The Great European Stage Directors, Volume 1: Antoine, Stanislavski, Saint-Denis ed. by Peta Tait, and: The Great European Stage Directors, Volume 2: Meyerhold, Piscator, Brecht ed. by David Barnett, and: The Great European Stage Directors, Volume 3: Copeau, Komisarjevsky, Guthrie ed. by Jonathan Pitches, and: The Great European Stage Directors, Volume 4: Reinhardt, Jessner, Barker ed. by Michael Patterson Ryan M. Prendergast The Great European Stage Directors, Volume 1: Antoine, Stanislavski, Saint-Denis. Edited by Peta Tait. Great Stage Directors series. London: Methuen Drama, 2019; pp. xi + 225. The Great European Stage Directors, Volume 2: Meyerhold, Piscator, Brecht. Edited by David Barnett. Great Stage Directors series. London: Methuen Drama, 2019; pp. xi + 226. The Great European Stage Directors, Volume 3: Copeau, Komisarjevsky, Guthrie. Edited by Jonathan Pitches. Great Stage Directors series. London: Methuen Drama, 2019; pp. xii + 204. The Great European Stage Directors, Volume 4: Reinhardt, Jessner, Barker. Edited by Michael Patterson. Great Stage Directors series. London: Methuen Drama, 2019; pp. xiii + 203. \"[W]ho would unite so many scattered elements? Who would give the signal?\" (1:31). These queries of stage director André Antoine about his leadership of the Cercle Gaulois encapsulate the challenges facing those writing the history of stage direction. The role's malleable scope and evolving identity over time demand nuance and expertise with various disciplines, practices, and artists. Under the editorial guidance of Simon Shepherd, Methuen Drama's series The Great European Stage Directors answers these challenges by providing an essential and compact resource directed at students, academics, and practitioners. Although the blurb for the series hazards overstatement by deeming itself \"authoritative\" and \"comprehensive,\" the series' overall ambit engenders a substantive engagement with the topic and associated fields. Rather than offer grand narratives, each volume in the series focuses on three specific directors whose lives, careers, and legacies span various practices, traditions, and chronologies. The complete series totals eight volumes, but Methuen Drama has released it evenly as two subseries, with the mid-twentieth century as a line of demarcation. [End Page 112] (Methuen Drama has also published a congruent series for North American stage directors.) The editorial selection of \"great directors\" may prompt questions about \"canonic\" status. Shepherd, however, states in the series introduction (reprinted in each volume) that \"[c]elebrity is not in itself necessarily relevant to being important\" (1:5). Individual volumes further complicate the reception of their subjects, and some authors decry any innocence in using the adjective \"great.\" To borrow from Jonathan Pitches's introduction to Volume 3, the importance of the directors chosen for the series stems not only from their individual accomplishments \"but becaus","PeriodicalId":209215,"journal":{"name":"Theatre Topics","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135409442","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":"Toward a Future Theatre: Conversations during a Pandemic by Caridad Svich (review)","authors":"Kelly I. Aliano","doi":"10.1353/tt.2023.a901209","DOIUrl":"https://doi.org/10.1353/tt.2023.a901209","url":null,"abstract":"","PeriodicalId":209215,"journal":{"name":"Theatre Topics","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133245412","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}
Persistent lack of representation for women playwrights across global stages remains a central concern to feminist theatre scholars. Thankfully, the essays in this collection, representing a plurality of feminism in the plays featured and a variety of critical approaches, help address the ongoing disparities. Building on Penny Farfan and Lesley Ferris’s earlier collaboration, Contemporary Women Playwrights (Palgrave Macmillan, 2013), this volume impressively expands that work, deepening feminist engagement across intersections of race, ethnicity, class, sexuality, ability, and age. Indeed, several essays do not foreground gender but contribute more widely to larger narratives and global perspectives, offering a dynamic snapshot of the scope and diversity within the field of women playwrights.
{"title":"Critical Perspectives on Contemporary Plays by Women: The Early Twenty-First Century ed. by Penny Farfan and Lesley Ferris (review)","authors":"J. Mobley","doi":"10.1353/tt.2023.a901204","DOIUrl":"https://doi.org/10.1353/tt.2023.a901204","url":null,"abstract":"Persistent lack of representation for women playwrights across global stages remains a central concern to feminist theatre scholars. Thankfully, the essays in this collection, representing a plurality of feminism in the plays featured and a variety of critical approaches, help address the ongoing disparities. Building on Penny Farfan and Lesley Ferris’s earlier collaboration, Contemporary Women Playwrights (Palgrave Macmillan, 2013), this volume impressively expands that work, deepening feminist engagement across intersections of race, ethnicity, class, sexuality, ability, and age. Indeed, several essays do not foreground gender but contribute more widely to larger narratives and global perspectives, offering a dynamic snapshot of the scope and diversity within the field of women playwrights.","PeriodicalId":209215,"journal":{"name":"Theatre Topics","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129032004","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 Note from the Editor","authors":"Susanne Shawyer","doi":"10.1353/tt.2023.a901198","DOIUrl":"https://doi.org/10.1353/tt.2023.a901198","url":null,"abstract":"","PeriodicalId":209215,"journal":{"name":"Theatre Topics","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123330902","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":"Performance Activism: Precursors and Contemporary Pioneers by Dan Friedman (review)","authors":"Gwendolyn Alker","doi":"10.1353/tt.2023.a901206","DOIUrl":"https://doi.org/10.1353/tt.2023.a901206","url":null,"abstract":"","PeriodicalId":209215,"journal":{"name":"Theatre Topics","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132347341","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}
Reviewed by: The Palgrave Handbook of Queer and Trans Feminisms in Contemporary Performance ed. by Tiina Rosenberg, Sandra D'Urso, Anna Renée Winget Joshua Bastian Cole The Palgrave Handbook of Queer and Trans Feminisms in Contemporary Performance. Edited by Tiina Rosenberg, Sandra D'Urso, Anna Renée Winget. Cham, Switzerland: Palgrave Macmillan, 2021; pp. xx + 541. This edited volume accents the contemporary in "contemporary performance," less by its central focus on cutting edge theatre- or meaning-making than by emphasizing links between queer and trans feminist identities in relation to recent global political events. Looking through intersectional lenses of gender, sexuality, disability, and race, the editors of The Palgrave Handbook of Queer and Trans Feminisms in Contemporary Performance see political themes energizing new performance and its theorizing. With new theatre, a new audience emerges, and in this case, so does a growing interest in activism. That increase can be both good (as revitalizing) and bad (as fetishizing). In the chapter on Black queer trans theatre-maker Travis Alabanza's work from the late 2010s, Beck Tadman problematizes "the equivalence of visibility with acceptance and safety" (167). Tadman's theoretical reflections on Alabanza follow playwright Leelee Jackson's open letter to predominantly white institutions from whom she needs to protect her work—work that "denormalizes racism" and "assume[s] queerness as the norm" (162, 165)—that these institutions claim to "love," but ultimately mishandle. Professional exposure and relying on the hope that "you'd do better" isn't worth the harm done (163). Collected here are analyses of queer and trans feminist performance of the twenty-first century, attuned to how creators and creations are informed by the specificity of their political contexts. The anthology itself was edited amid the COVID-19 pandemic, which imposed drastic shifts on daily life. Gatherings became impossible, and pertinent to [End Page 114] performing artists, theatres closed, some of them for good. In the Handbook's framing, the backdrop for contemporary performance includes the ongoing Black Lives Matter and Defund the Police movements that arose from George Floyd's murder in 2020 as well as conflicts in Syria, Africa, Afghanistan, Hong Kong, the Middle East, and Ukraine, to name just a few. Attention is also paid to anti-LGBTQI global legislation that led to a surge in asylum-seekers, in addition to the intense anti-trans legislation happening now in the US. The book just predates the overturning of Roe v. Wade, but it perhaps saw it coming. And of course, climate change continues to decimate the planet. The book ultimately asks how we move forward, what is the most urgent work, how does performance studies take up that work, or as Eric A. Stanley inquires in the conclusion, "how [do we] get free?" (516). The book is broken into five sections—the first four consist of author contributions demonstrating c
《当代表演中的酷儿和变性女性主义帕尔格雷夫手册》，作者:蒂娜·罗森伯格、桑德拉·杜尔索、安娜·雷姆塞·温吉特、约书亚·巴斯蒂安·科尔。《当代表演中的酷儿和变性女性主义帕尔格雷夫手册》。蒂娜·罗森伯格、桑德拉·杜尔索、安娜·温盖特编辑。Cham，瑞士:Palgrave Macmillan, 2021;Pp. xx + 541。这本经过编辑的书强调了“当代表演”中的当代，而不是通过其对前沿戏剧或意义制造的中心关注，而是通过强调酷儿和跨性别女权主义者身份与最近全球政治事件之间的联系。透过性别、性、残疾和种族的交叉镜头，《帕尔格雷夫当代表演中的酷儿和跨性别女性主义手册》的编辑们看到了政治主题为新的表演及其理论化注入了活力。有了新的剧院，新的观众就出现了，在这种情况下，对行动主义的兴趣也越来越大。这种增长可能是好的(作为振兴)也可能是坏的(作为崇拜)。贝克·塔德曼(Beck Tadman)在关于黑人同性恋跨性别戏剧制作人特拉维斯·阿拉班扎(Travis Alabanza)从2010年代末开始的作品的章节中，对“可见性与接受和安全的等同”提出了质疑(167)。塔德曼对《Alabanza》的理论反思是在编剧莉莉·杰克逊(Leelee Jackson)写给白人机构的公开信之后进行的，她需要保护自己的作品——那些“使种族主义非正常化”和“把酷儿当作规范”的作品(162,165)——这些机构声称“爱”，但最终处理不当。职业暴露和依赖于“你会做得更好”的希望是不值得这样做的。这里收集的是对21世纪酷儿和跨性别女权主义表演的分析，这些分析与创作者和作品如何受到其政治背景的特殊性的影响相协调。选集本身是在新冠疫情期间编辑的，这给日常生活带来了巨大变化。聚会变得不可能了，与表演艺术家有关的是，剧院关闭了，其中一些是永久性的。在《手册》的框架中，当代表演的背景包括正在进行的“黑人的命也是命”和“撤除警察”运动，这些运动源于2020年乔治·弗洛伊德(George Floyd)被谋杀，以及叙利亚、非洲、阿富汗、香港、中东和乌克兰的冲突，仅举几例。除了美国目前正在进行的激烈的反跨性别立法之外，反lgbtqi的全球立法也引起了人们的关注，这导致了寻求庇护者的激增。这本书在罗伊诉韦德案(Roe v. Wade)被推翻之前出版，但它或许预见到了它的到来。当然，气候变化还在继续毁灭地球。这本书最终问我们如何前进，最紧迫的工作是什么，绩效研究如何承担这项工作，或者正如埃里克·a·斯坦利在结论中所询问的那样，“我们如何获得自由?”(516)。本书分为五个部分，前四部分由作者的贡献组成，展示了综合报道、采访、批评和理论的前沿戏剧调查。最后一部分通过跨性别女权主义学者/艺术家小山百代和埃里克·a·斯坦利的对话，探讨了该领域的过去、现在和未来。第一部分，“颠覆性的表演:突破(非)可理解性的代码”，包括学术章节和创造性的作品，试图通过(非)可理解性来破坏规范，考虑不可读的，不可翻译的，无纪律的，揭露的和不人道的。第二部分，“谁的奇怪货币?”前/改变的CIS [sic]白人的脆弱，”强调了酷儿的颜色批评发展在表演，行动主义，和变装。作者认为，对跨性别历史的深入研究将使表演和当代女权主义理论重新定位于思考白人和凝视经济学。第三部分，“同性恋的跨越和转变”，通过具体化和痛苦的理论来质疑身体的概念，这自然导致了倒数第二部分。在第四部分“疗愈与革命:疗愈中的行动主义”中，案例研究探讨了疗愈的应用如何以社群主义甚至精神抵抗的形式推动新的可能性。汇集了广泛的贡献者，包括来自世界各地大学的博士生，著名的理论家，如Sue-Ellen Case，以及新兴的表演者，如变装艺人和活动家芭比小姐q和编舞家和跨学科从业者Shyamala Moorty，…
{"title":"The Palgrave Handbook of Queer and Trans Feminisms in Contemporary Performance ed. by Tiina Rosenberg, Sandra D'Urso, Anna Renée Winget (review)","authors":"","doi":"10.1353/tt.2023.a901208","DOIUrl":"https://doi.org/10.1353/tt.2023.a901208","url":null,"abstract":"Reviewed by: The Palgrave Handbook of Queer and Trans Feminisms in Contemporary Performance ed. by Tiina Rosenberg, Sandra D'Urso, Anna Renée Winget Joshua Bastian Cole The Palgrave Handbook of Queer and Trans Feminisms in Contemporary Performance. Edited by Tiina Rosenberg, Sandra D'Urso, Anna Renée Winget. Cham, Switzerland: Palgrave Macmillan, 2021; pp. xx + 541. This edited volume accents the contemporary in \"contemporary performance,\" less by its central focus on cutting edge theatre- or meaning-making than by emphasizing links between queer and trans feminist identities in relation to recent global political events. Looking through intersectional lenses of gender, sexuality, disability, and race, the editors of The Palgrave Handbook of Queer and Trans Feminisms in Contemporary Performance see political themes energizing new performance and its theorizing. With new theatre, a new audience emerges, and in this case, so does a growing interest in activism. That increase can be both good (as revitalizing) and bad (as fetishizing). In the chapter on Black queer trans theatre-maker Travis Alabanza's work from the late 2010s, Beck Tadman problematizes \"the equivalence of visibility with acceptance and safety\" (167). Tadman's theoretical reflections on Alabanza follow playwright Leelee Jackson's open letter to predominantly white institutions from whom she needs to protect her work—work that \"denormalizes racism\" and \"assume[s] queerness as the norm\" (162, 165)—that these institutions claim to \"love,\" but ultimately mishandle. Professional exposure and relying on the hope that \"you'd do better\" isn't worth the harm done (163). Collected here are analyses of queer and trans feminist performance of the twenty-first century, attuned to how creators and creations are informed by the specificity of their political contexts. The anthology itself was edited amid the COVID-19 pandemic, which imposed drastic shifts on daily life. Gatherings became impossible, and pertinent to [End Page 114] performing artists, theatres closed, some of them for good. In the Handbook's framing, the backdrop for contemporary performance includes the ongoing Black Lives Matter and Defund the Police movements that arose from George Floyd's murder in 2020 as well as conflicts in Syria, Africa, Afghanistan, Hong Kong, the Middle East, and Ukraine, to name just a few. Attention is also paid to anti-LGBTQI global legislation that led to a surge in asylum-seekers, in addition to the intense anti-trans legislation happening now in the US. The book just predates the overturning of Roe v. Wade, but it perhaps saw it coming. And of course, climate change continues to decimate the planet. The book ultimately asks how we move forward, what is the most urgent work, how does performance studies take up that work, or as Eric A. Stanley inquires in the conclusion, \"how [do we] get free?\" (516). The book is broken into five sections—the first four consist of author contributions demonstrating c","PeriodicalId":209215,"journal":{"name":"Theatre Topics","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135409555","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}
The most famous haiku poet, Matsuo Bashō, wrote these lines somewhere in Japan, sometime in the seventeenth century. Three hundred years later, in his 1967 essay “The Death of the Author,” Roland Barthes declares that “the text is a tissue of quotations drawn from the innumerable centres of culture” (146). We understand we are in the field of theatre and performance studies (or fields of theatre and performance studies, perhaps) that is shaped and stretched and delineated by its texts. The field/text here is both material and conceptual—in particular, books and journals and the ideas they convey. And those texts rely on other texts, some from the “centers of culture,” some from our “to and fro” journeys about the world and through other areas of study. So when we asked what is the import of citation to our field(s), and what specific view do we have of citational practice and citationality from our vantage as editors of scholarly journals that attempt to contribute to this work, we were struck by the very first question . . .
{"title":"\"Cultivating a Small Field\": On the Work of Citation in Theatre and Performance Studies Scholarship","authors":"Michelle Liu Carriger, Eero Laine","doi":"10.1353/tt.2023.a901200","DOIUrl":"https://doi.org/10.1353/tt.2023.a901200","url":null,"abstract":"The most famous haiku poet, Matsuo Bashō, wrote these lines somewhere in Japan, sometime in the seventeenth century. Three hundred years later, in his 1967 essay “The Death of the Author,” Roland Barthes declares that “the text is a tissue of quotations drawn from the innumerable centres of culture” (146). We understand we are in the field of theatre and performance studies (or fields of theatre and performance studies, perhaps) that is shaped and stretched and delineated by its texts. The field/text here is both material and conceptual—in particular, books and journals and the ideas they convey. And those texts rely on other texts, some from the “centers of culture,” some from our “to and fro” journeys about the world and through other areas of study. So when we asked what is the import of citation to our field(s), and what specific view do we have of citational practice and citationality from our vantage as editors of scholarly journals that attempt to contribute to this work, we were struck by the very first question . . .","PeriodicalId":209215,"journal":{"name":"Theatre Topics","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116012153","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}
This is uncontroversial. We cite to give credit where credit is due. We cite to build lineages, to build bridges, to call in voices that are missing from the conversation, and to call back those that are heading in the wrong direction. Citation allows us to ethically participate in community with other scholars and artists. When we move into the classroom, we bring citation with us. We fill our syllabi and course materials with references. We write titles and authors on the board when something comes to us on the spur of the moment.
{"title":"Citing Images of Theatre and Performance in the Classroom","authors":"P. Thielman","doi":"10.1353/tt.2023.a901202","DOIUrl":"https://doi.org/10.1353/tt.2023.a901202","url":null,"abstract":"This is uncontroversial. We cite to give credit where credit is due. We cite to build lineages, to build bridges, to call in voices that are missing from the conversation, and to call back those that are heading in the wrong direction. Citation allows us to ethically participate in community with other scholars and artists. When we move into the classroom, we bring citation with us. We fill our syllabi and course materials with references. We write titles and authors on the board when something comes to us on the spur of the moment.","PeriodicalId":209215,"journal":{"name":"Theatre Topics","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122878578","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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