{"title":"Citing Right/Right to Cite: A Black Feminist Reflection on Citation","authors":"Jordan Ealey","doi":"10.1353/tt.2023.a901201","DOIUrl":"https://doi.org/10.1353/tt.2023.a901201","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":"120850590","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}
When South Korean producer Sophy Jiwon Kim decided she had to produce the Austrian musical Mozart! (1999) in South Korea, she flew to Tokyo to pursue its creators Michael Kunze and Sylvester Levay at a Japanese theatre and persuade them to grant her the rights for a Korean premiere in 2010. When American producers failed to finance a revue show celebrating the work of Broadway director and producer Harold Prince, Japanese producer Murata Hiroko1 risked her career to honor Prince, premiering the revue, Prince of Broadway, in Japan in 2015, prior to a 2017 Broadway opening. When Chinese producer Yang Jiamin wanted to bring the American musical Man of La Mancha (1965) to China but the initial license agreement proved prohibitive for her fledgling Chinese company’s 2012 inaugural production, she traveled to New York and negotiated with the show’s composer, Mitch Leigh. These women have taken risks for musical theatre. They cross borders and continents, often based on strong instincts rather than certainties.
当韩国制作人金智元决定制作奥地利音乐剧《莫扎特》时!(1999)在韩国上映后，她飞往东京，在一家日本剧院会见了该片的创作者迈克尔·昆泽(Michael Kunze)和西尔维斯特·勒维(Sylvester Levay)，并说服他们授予她2010年在韩国首演的权利。当美国制片人未能资助一场庆祝百老汇导演兼制片人哈罗德·普林斯(Harold Prince)作品的讽刺剧时，日本制片人村田广子(Murata Hiroko1)冒着职业生涯的风险，在2017年百老汇首演之前，于2015年在日本首演了讽刺剧《百老汇的王子》(Prince of Broadway)。中国制片人杨嘉敏想把美国音乐剧《拉曼查的男人》(Man of La Mancha, 1965)带到中国，但最初的许可协议对她刚刚起步的中国公司2012年的首演来说是禁止的，于是她前往纽约，与该剧的作曲家米奇·利(Mitch Leigh)进行了谈判。这些女人为了音乐剧而冒险。他们跨越国界和大陆，往往基于强烈的本能，而不是确定性。
{"title":"\"A New Path to the Future\": Women Producers of Border-Crossing Musical Theatre in Japan, South Korea, and China","authors":"Laura Macdonald","doi":"10.1353/tt.2023.a901199","DOIUrl":"https://doi.org/10.1353/tt.2023.a901199","url":null,"abstract":"When South Korean producer Sophy Jiwon Kim decided she had to produce the Austrian musical Mozart! (1999) in South Korea, she flew to Tokyo to pursue its creators Michael Kunze and Sylvester Levay at a Japanese theatre and persuade them to grant her the rights for a Korean premiere in 2010. When American producers failed to finance a revue show celebrating the work of Broadway director and producer Harold Prince, Japanese producer Murata Hiroko1 risked her career to honor Prince, premiering the revue, Prince of Broadway, in Japan in 2015, prior to a 2017 Broadway opening. When Chinese producer Yang Jiamin wanted to bring the American musical Man of La Mancha (1965) to China but the initial license agreement proved prohibitive for her fledgling Chinese company’s 2012 inaugural production, she traveled to New York and negotiated with the show’s composer, Mitch Leigh. These women have taken risks for musical theatre. They cross borders and continents, often based on strong instincts rather than certainties.","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":"121349419","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}
Courses that center musical theatre as an object of analysis frequently attract ardent devotees of the form. In order to activate and leverage my students’ existing knowledge, I open these courses with an invitation: identify your favorite musicals and explicate their merits. 1 The students’ fidelity to musical theatre is apparent during this activity as they index and defend their choices with zeal. Among the cataloged titles, recent musicals—works that received their initial first-class production within the past decade—commonly represent a majority. 2 Moreover, several students acknowledge that their enthusiasm for these works derives from having consumed their original productions as performance, whether on Broadway, on tour, or as a bootleg video. When I ask them to expound on their love for a given musical, they frequently conflate its textual elements (libretto, lyrics, and score) with the original production’s mise-en-scène (directorial concept, design, and choreography) and thereby suggest that an inaugural production represents the musical’s apotheosis. In their estimation, a musical’s legibility hinges on its original mise-en-scène. For example, Hamilton (2015) is not merely a musical composition penned by Lin-Manuel Miranda but rather a composite text that necessarily includes David Korins’s scenery, Paul Tazewell’s costumes, and Andy Blankenbuehler’s movement vocabulary. 3 My students later confirm their orientation toward musical theatre when they assess productions staged at their high schools or community theatres. The most frequently invoked measurement of success is the degree to which a creative team emulates the given musical’s original first-class production. Through their discussion of favorite works and prior spectatorship, many students unwittingly contend that a musical’s inaugural production is indistinguishable from the musical itself. I
{"title":"Contemplating the Afterlife: Musicals in Revival as Pedagogical Intervention","authors":"Bryan M. Vandevender","doi":"10.1353/tt.2023.0009","DOIUrl":"https://doi.org/10.1353/tt.2023.0009","url":null,"abstract":"Courses that center musical theatre as an object of analysis frequently attract ardent devotees of the form. In order to activate and leverage my students’ existing knowledge, I open these courses with an invitation: identify your favorite musicals and explicate their merits. 1 The students’ fidelity to musical theatre is apparent during this activity as they index and defend their choices with zeal. Among the cataloged titles, recent musicals—works that received their initial first-class production within the past decade—commonly represent a majority. 2 Moreover, several students acknowledge that their enthusiasm for these works derives from having consumed their original productions as performance, whether on Broadway, on tour, or as a bootleg video. When I ask them to expound on their love for a given musical, they frequently conflate its textual elements (libretto, lyrics, and score) with the original production’s mise-en-scène (directorial concept, design, and choreography) and thereby suggest that an inaugural production represents the musical’s apotheosis. In their estimation, a musical’s legibility hinges on its original mise-en-scène. For example, Hamilton (2015) is not merely a musical composition penned by Lin-Manuel Miranda but rather a composite text that necessarily includes David Korins’s scenery, Paul Tazewell’s costumes, and Andy Blankenbuehler’s movement vocabulary. 3 My students later confirm their orientation toward musical theatre when they assess productions staged at their high schools or community theatres. The most frequently invoked measurement of success is the degree to which a creative team emulates the given musical’s original first-class production. Through their discussion of favorite works and prior spectatorship, many students unwittingly contend that a musical’s inaugural production is indistinguishable from the musical itself. I","PeriodicalId":209215,"journal":{"name":"Theatre Topics","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128462487","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}
Asexuality—the perspective of not experiencing sexual attraction to others—is sometimes called the “invisible orientation” for its lack of representation in popular culture (Decker). Popularized in the early 2000s, the term “asexual” describes a spectrum of non-normative desire and is usually presented as a sexual orientation akin to “heterosexual,” “bisexual,” or “homosexual.” While framed as an essential, minority identity, asexuality can also describe a sensibility akin to queerness. Within the past few years, television series such as BoJack Horseman, Sex Education, Sirens, and Everything’s Gonna Be Okay have all spotlighted asexual characters. In theatre, however, asexual representation has remained rare. Being one of a few out asexual playwrights, I have stumbled upon pockets of asexual theatre-makers, often by chance, as colleagues have connected via social media or word of mouth through mutual friends. I have noticed (and been part of ) a cohort of artists working to tell stories of asexual experience and shift social understandings of what constitutes “natural” sexuality. Here, I spotlight a sample of plays from this cohort to investigate what asexual aesthetics and representation might lend to theatrical discourse more broadly.
{"title":"Shadow Play: Visualizing Asexuality in New","authors":"Kari Barclay","doi":"10.1353/tt.2023.0008","DOIUrl":"https://doi.org/10.1353/tt.2023.0008","url":null,"abstract":"Asexuality—the perspective of not experiencing sexual attraction to others—is sometimes called the “invisible orientation” for its lack of representation in popular culture (Decker). Popularized in the early 2000s, the term “asexual” describes a spectrum of non-normative desire and is usually presented as a sexual orientation akin to “heterosexual,” “bisexual,” or “homosexual.” While framed as an essential, minority identity, asexuality can also describe a sensibility akin to queerness. Within the past few years, television series such as BoJack Horseman, Sex Education, Sirens, and Everything’s Gonna Be Okay have all spotlighted asexual characters. In theatre, however, asexual representation has remained rare. Being one of a few out asexual playwrights, I have stumbled upon pockets of asexual theatre-makers, often by chance, as colleagues have connected via social media or word of mouth through mutual friends. I have noticed (and been part of ) a cohort of artists working to tell stories of asexual experience and shift social understandings of what constitutes “natural” sexuality. Here, I spotlight a sample of plays from this cohort to investigate what asexual aesthetics and representation might lend to theatrical discourse more broadly.","PeriodicalId":209215,"journal":{"name":"Theatre Topics","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126246991","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}
None of this, however, should diminish the substantial achievements of Rethinking the Actor’s Body. It integrates highly technical discourses on the body from theatre studies, cognitive science, anthropology, and philosophy into a cogent narrative that is accessible across disciplines. For actors and acting teachers looking to deepen their understanding of the mimetic function of the actor’s body and the efficacy of psychophysical acting techniques, McCaw provides a fresh perspective on many compelling questions and poses some intriguing new ones for future consideration. It is the most up-to-date theoretical explanation of why theatrical realism endures as the dominant system of actor training in the West, and anyone who works in that style would benefit from McCaw’s insight.
{"title":"How to Market the Arts: A Practical Approach for the 21st Century by Anthony Rhine and Jay Pension (review)","authors":"James Filippelli","doi":"10.1353/tt.2023.0006","DOIUrl":"https://doi.org/10.1353/tt.2023.0006","url":null,"abstract":"None of this, however, should diminish the substantial achievements of Rethinking the Actor’s Body. It integrates highly technical discourses on the body from theatre studies, cognitive science, anthropology, and philosophy into a cogent narrative that is accessible across disciplines. For actors and acting teachers looking to deepen their understanding of the mimetic function of the actor’s body and the efficacy of psychophysical acting techniques, McCaw provides a fresh perspective on many compelling questions and poses some intriguing new ones for future consideration. It is the most up-to-date theoretical explanation of why theatrical realism endures as the dominant system of actor training in the West, and anyone who works in that style would benefit from McCaw’s insight.","PeriodicalId":209215,"journal":{"name":"Theatre Topics","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116061599","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":"On Site: Methods for Site-Specific Performance Creation by Stephan Koplowitz (review)","authors":"KT Shorb","doi":"10.1353/tt.2023.0003","DOIUrl":"https://doi.org/10.1353/tt.2023.0003","url":null,"abstract":"","PeriodicalId":209215,"journal":{"name":"Theatre Topics","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125938831","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":"Working Backstage: A Cultural History and Ethnography of Technical Theater Labor by Christin Essin (review)","authors":"David B. Vogel","doi":"10.1353/tt.2023.0002","DOIUrl":"https://doi.org/10.1353/tt.2023.0002","url":null,"abstract":"","PeriodicalId":209215,"journal":{"name":"Theatre Topics","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130877732","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":"Stage Management Theory as a Guide to Practice: Cultivating a Creative Approach by Lisa Porter and Narda E. Alcorn","authors":"Tom Humes","doi":"10.1353/tt.2023.0005","DOIUrl":"https://doi.org/10.1353/tt.2023.0005","url":null,"abstract":"","PeriodicalId":209215,"journal":{"name":"Theatre Topics","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126058580","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":"Projection Design for Theatre and Live Performance: Principles of Media Design by Alison C. Dobbins (review)","authors":"Fereshteh Rostampour","doi":"10.1353/tt.2023.0001","DOIUrl":"https://doi.org/10.1353/tt.2023.0001","url":null,"abstract":"","PeriodicalId":209215,"journal":{"name":"Theatre Topics","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124232103","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 question, which provides both the title and general form for Mara Nelson-Greenberg’s play, initially appears deceptively simple. Taking up Nelson-Greenberg’s question as a challenge, I consider how anger operates in our particularly tense and uncertain moment. After all, what is anger? Should it be considered a trait—part of an individual’s inherent personality revealed through their thoughts and actions? Or a state—a temporary condition that individuals experience for a short time before transitioning to a different condition (“Difference”)? What might it mean to “feel” anger? What sensations, reactions, or impulses do we associate with anger? And whose anger do we justify?
{"title":"If You're Not Angry, You're Not Paying Attention: Anger, Empathy, and Activism in Crisis","authors":"Catherine Heiner","doi":"10.1353/tt.2023.0011","DOIUrl":"https://doi.org/10.1353/tt.2023.0011","url":null,"abstract":"This question, which provides both the title and general form for Mara Nelson-Greenberg’s play, initially appears deceptively simple. Taking up Nelson-Greenberg’s question as a challenge, I consider how anger operates in our particularly tense and uncertain moment. After all, what is anger? Should it be considered a trait—part of an individual’s inherent personality revealed through their thoughts and actions? Or a state—a temporary condition that individuals experience for a short time before transitioning to a different condition (“Difference”)? What might it mean to “feel” anger? What sensations, reactions, or impulses do we associate with anger? And whose anger do we justify?","PeriodicalId":209215,"journal":{"name":"Theatre Topics","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132836956","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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