{"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":"51 9","pages":"0"},"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":"33 1","pages":"0"},"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":"36 1","pages":"0"},"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":"95 1","pages":"0"},"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":"123 1","pages":"0"},"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":"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":"33 1","pages":"0"},"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":"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":"26 1","pages":"0"},"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":"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":"139 1","pages":"0"},"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":"4 1","pages":"0"},"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}
A Note from the Editor John Fletcher Returning to the classroom after a spring sabbatical, I realized that this fall was for me the first semester to feel post-pandemic. I met classes in the rooms I usually taught them. I gingerly reestablished some participation and attendance standards (with generous options for medical excuses, of course). Students and I interacted mostly without the distancing, universal masking, and HEPA-filter hum of years past. It feels new. Amid this newness, I've found myself struggling to talk about the former high pandemic period. I gesture vaguely to the last few years as a long, frustrating season for theatre students and teachers. We were not lethargic; emergency and innovation energized us. From the efflorescence of creative strategies for remote performance in lockdowns to the exasperated fury at assaults on Black lives and threats to democracy, the past few years kept us busy as artists, teachers, and scholars. Yet the fuels of rage and fear, potent as they are, can burn out easily. It has taken a long time for me to recover enough to feel new, to rediscover the passions that got me into theatre and the classroom in the first place. To be sure, stressors like the pandemic and rising white nationalism are not altogether gone; thus, pandemic innovation and emergency response will remain part of our collective toolkits. But we are perhaps moving past the time when these were our only options. I am refreshed, then, that this issue's offerings all in one way or another engage not just living but thriving. Each is about passion—a deep, durable yearning toward something beyond mere survival. And for the first time in years, I sense my own readiness to think about teaching, studying, and producing theatre in ways other than crisis reactions or desperate experimentation. I hope you are similarly primed to indulge in some passion. I am especially pleased to begin this issue with "Shadow Play: Visualizing Asexuality in New Queer Plays" by playwright and scholar Kari Barclay. This is the first article in Theatre Topics to engage asexuality directly. Barclay both provides a crash course in asexuality (and other identities within the asexual/aromantic spectrum) and showcases how several queer playwrights stage this identity category within the constellation of sexual and gender identities. Barclay adroitly dispatches any misconception that lives not centering on sexual desire means lives missing out on passion. The plays they survey in the article (including their own) deepen and expand possibilities for non-normative sexualities, playing in the shadows of more conventional identities' visibility politics. Such shadow play resonates with what Michel Foucault imagined in 1981 when he identified the most exciting element of homosexuality not as a new normative category for sexual expression but as "a historic occasion to reopen affective and relational virtualities" more broadly (138). That is, homosexuality (in Foucault's conte
春假结束后回到教室，我意识到这个秋天对我来说是大流行后的第一个学期。我在我通常教他们的房间里遇到了班级。我小心翼翼地重新建立了一些参与和出勤标准(当然，有很多医疗借口)。我和学生们的互动大多没有过去几年的疏远、普遍屏蔽和高效微粒过滤器的嗡嗡声。感觉很新鲜。在这种新情况下，我发现自己很难谈论以前的高流行时期。我模糊地指了指过去几年，对戏剧专业的学生和老师来说，这是一个漫长而令人沮丧的季节。我们并不昏昏沉沉;紧急情况和创新激励着我们。过去的几年里，我们这些艺术家、教师和学者忙得不可开交，从在封锁中进行远程表演的创意策略的蓬勃发展，到对黑人生命受到攻击和民主受到威胁的愤怒。然而，愤怒和恐惧的燃料，尽管强大，也很容易燃烧殆尽。我花了很长时间才恢复到足以感受新事物的程度，重新发现最初让我进入戏剧和课堂的激情。可以肯定的是，疫情和白人民族主义抬头等压力因素并未完全消失;因此，大流行病创新和应急反应仍将是我们集体工具包的一部分。但我们可能正在经历这些是我们唯一选择的时代。因此，我感到振奋的是，本期所提供的内容都以这样或那样的方式不仅涉及生活，而且涉及繁荣。每一个都与激情有关——一种对超越生存的事物的深刻而持久的渴望。多年来，我第一次感觉到自己准备好了用危机反应或绝望的实验之外的方式来思考戏剧的教学、学习和创作。我希望你也同样准备好了沉浸在某种激情中。我特别高兴地以剧作家兼学者卡莉·巴克利的《皮影戏:新酷儿戏剧中无性恋的可视化》作为本期的开篇。这是《戏剧话题》上第一篇直接讨论无性恋的文章。巴克莱既提供了无性恋(以及无性/芳香光谱中的其他身份)的速成课程，也展示了几位酷儿剧作家是如何在性和性别身份的集群中演绎这种身份类别的。巴克莱巧妙地消除了任何误解，即不以性欲为中心的生活意味着失去激情的生活。他们在文章中调查的戏剧(包括他们自己的)加深和扩大了非规范性的性行为的可能性，在更传统身份的可见性政治的阴影下发挥作用。这种皮影戏与米歇尔·福柯在1981年的想象产生了共鸣，当时他认为同性恋最令人兴奋的因素不是性表达的新规范类别，而是更广泛地“重新打开情感和关系虚拟性的历史性场合”(138)。也就是说，同性恋(在福柯的语境中)和无性恋(在我们的语境中)为我们提供了一个机会，让我们重新想象我们以前认为不可能的生活模式和友谊的可能性。巴克莱和他们的团队帮助我们开始了这样一种重新想象。当然，这样的项目是让人充满激情的。我期待在这个和其他戏剧/表演研究期刊上看到更多关于无性恋的作品。在《冥思来世》一书中，Bryan M. Vandevender讲述了一个更熟悉的激情来源:他的学生对音乐剧的热爱。他有效地指出并解决了一个常见的教学难题，即学生对音乐剧的狂热有时会阻碍他们批判性地参与这些文本的意愿。Vandevender随后详细阐述了一个有用的策略，通过将复兴的视角融入他的课程，帮助学生加深对音乐剧的欣赏。凡德文德指出，把音乐剧作为复兴来研究，可以让学生有更高的批判意识。他们学会了把音乐剧不仅仅看作是静态的作品(他们最熟悉的单一演员专辑或标志性的舞台版本)，而是作为反复出现的事件，再出现，并对不断变化的环境做出反应。这种意识也有助于他们成为更负责任的制作人，促使他们提出重要的历史问题，即他们自己决定制作哪些音乐剧，以及如何或为什么制作音乐剧。Vandevender提供了几套……
{"title":"A Note from the Editor","authors":"John Fletcher","doi":"10.1353/tt.2023.0007","DOIUrl":"https://doi.org/10.1353/tt.2023.0007","url":null,"abstract":"A Note from the Editor John Fletcher Returning to the classroom after a spring sabbatical, I realized that this fall was for me the first semester to feel post-pandemic. I met classes in the rooms I usually taught them. I gingerly reestablished some participation and attendance standards (with generous options for medical excuses, of course). Students and I interacted mostly without the distancing, universal masking, and HEPA-filter hum of years past. It feels new. Amid this newness, I've found myself struggling to talk about the former high pandemic period. I gesture vaguely to the last few years as a long, frustrating season for theatre students and teachers. We were not lethargic; emergency and innovation energized us. From the efflorescence of creative strategies for remote performance in lockdowns to the exasperated fury at assaults on Black lives and threats to democracy, the past few years kept us busy as artists, teachers, and scholars. Yet the fuels of rage and fear, potent as they are, can burn out easily. It has taken a long time for me to recover enough to feel new, to rediscover the passions that got me into theatre and the classroom in the first place. To be sure, stressors like the pandemic and rising white nationalism are not altogether gone; thus, pandemic innovation and emergency response will remain part of our collective toolkits. But we are perhaps moving past the time when these were our only options. I am refreshed, then, that this issue's offerings all in one way or another engage not just living but thriving. Each is about passion—a deep, durable yearning toward something beyond mere survival. And for the first time in years, I sense my own readiness to think about teaching, studying, and producing theatre in ways other than crisis reactions or desperate experimentation. I hope you are similarly primed to indulge in some passion. I am especially pleased to begin this issue with \"Shadow Play: Visualizing Asexuality in New Queer Plays\" by playwright and scholar Kari Barclay. This is the first article in Theatre Topics to engage asexuality directly. Barclay both provides a crash course in asexuality (and other identities within the asexual/aromantic spectrum) and showcases how several queer playwrights stage this identity category within the constellation of sexual and gender identities. Barclay adroitly dispatches any misconception that lives not centering on sexual desire means lives missing out on passion. The plays they survey in the article (including their own) deepen and expand possibilities for non-normative sexualities, playing in the shadows of more conventional identities' visibility politics. Such shadow play resonates with what Michel Foucault imagined in 1981 when he identified the most exciting element of homosexuality not as a new normative category for sexual expression but as \"a historic occasion to reopen affective and relational virtualities\" more broadly (138). That is, homosexuality (in Foucault's conte","PeriodicalId":209215,"journal":{"name":"Theatre Topics","volume":"179 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134950015","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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