Abstract In this text and image essay, I introduce a new concept to the environmental humanities; one which seeks to trouble metaphysical notions of dwelling by combining the idea of home (the oikos in ecology) with a notion of permanent becoming. In this way, home loses its conservative and reactionary connotations with atavistic origins and identities and instead is opened up to nonhuman forces and powers. As I explain in the opening section, bec(h)oming is a matter of affect; it depends upon the capacity of bodies to move beyond themselves, to be impressed and transformed by the environments which they move through, to tap what the philosopher Gilbert Simondon might see as the “pre-individual” energy that runs through all organisms. Humans are no exception; they, too, are caught in the flux and flow. By focusing on bodies, the essay not only looks to depart from conventional narrative-based notions of ecocriticism and theatre ecology, it aims to provide a lexicon, a new idiom for thinking through corporeal ecologies that are attuned to sensations, the virtual play of a cosmic Earth. To do that, the text provides the first detailed account of the work and practices of influential UK movement artist Simon Whitehead, whose Locator workshop has proved pivotal for so many dancers, choreographers, and artists over the past few decades. Integral to the paper is a desire to experiment with alternative modes of writing, a style that would express the enthusiasms of bec(h)omings and give some sense of its somatic potential.
{"title":"Bec(h)oming with Simon Whitehead: Practising a Logic of Sensation","authors":"C. Lavery","doi":"10.1515/jcde-2022-0004","DOIUrl":"https://doi.org/10.1515/jcde-2022-0004","url":null,"abstract":"Abstract In this text and image essay, I introduce a new concept to the environmental humanities; one which seeks to trouble metaphysical notions of dwelling by combining the idea of home (the oikos in ecology) with a notion of permanent becoming. In this way, home loses its conservative and reactionary connotations with atavistic origins and identities and instead is opened up to nonhuman forces and powers. As I explain in the opening section, bec(h)oming is a matter of affect; it depends upon the capacity of bodies to move beyond themselves, to be impressed and transformed by the environments which they move through, to tap what the philosopher Gilbert Simondon might see as the “pre-individual” energy that runs through all organisms. Humans are no exception; they, too, are caught in the flux and flow. By focusing on bodies, the essay not only looks to depart from conventional narrative-based notions of ecocriticism and theatre ecology, it aims to provide a lexicon, a new idiom for thinking through corporeal ecologies that are attuned to sensations, the virtual play of a cosmic Earth. To do that, the text provides the first detailed account of the work and practices of influential UK movement artist Simon Whitehead, whose Locator workshop has proved pivotal for so many dancers, choreographers, and artists over the past few decades. Integral to the paper is a desire to experiment with alternative modes of writing, a style that would express the enthusiasms of bec(h)omings and give some sense of its somatic potential.","PeriodicalId":41187,"journal":{"name":"Journal of Contemporary Drama in English","volume":"10 1","pages":"44 - 67"},"PeriodicalIF":0.5,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42237384","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}
Abstract Ella Hickson’s Oil (2016) and Leigh Fondakowski’s Spill (2014) make palpable to their audiences what I call the Petrocene: the age in which human existence has become impossible to conceive without oil. Each play illuminates the pervasive presence of petroleum infrastructures in its own way: while Spill focuses on the specific and sensational crisis of the BP oil spill in the Gulf of Mexico in 2010, Oil presents a series of scenes which focus on two women (mother and daughter) who struggle to carve out their existence in various time periods and in the context of different fossil-energy regimes. Both plays succeed in unveiling not only the toxicity of extractive regimes necessary to fuel the Petrocene, but also the toxicity of the narratives that uphold extractive regimes and their attendant injustices. Moreover, both plays convey the intoxicating effects of oil, which appears as a near-magical substance that promises unfettered progress and access to the good life. Examining these plays in conjunction not only highlights the increasing presence of ecological concerns in dramatic pieces, but also illustrates the ways in which dramatic performance can distill enormous oil infrastructures into apprehensible worlds and thus create vital spaces for pondering the Petrocene.
{"title":"Playing the Petrocene: Toxicity and Intoxication in Leigh Fondakowski’s Spill and Ella Hickson’s Oil","authors":"L. Hess","doi":"10.1515/jcde-2022-0013","DOIUrl":"https://doi.org/10.1515/jcde-2022-0013","url":null,"abstract":"Abstract Ella Hickson’s Oil (2016) and Leigh Fondakowski’s Spill (2014) make palpable to their audiences what I call the Petrocene: the age in which human existence has become impossible to conceive without oil. Each play illuminates the pervasive presence of petroleum infrastructures in its own way: while Spill focuses on the specific and sensational crisis of the BP oil spill in the Gulf of Mexico in 2010, Oil presents a series of scenes which focus on two women (mother and daughter) who struggle to carve out their existence in various time periods and in the context of different fossil-energy regimes. Both plays succeed in unveiling not only the toxicity of extractive regimes necessary to fuel the Petrocene, but also the toxicity of the narratives that uphold extractive regimes and their attendant injustices. Moreover, both plays convey the intoxicating effects of oil, which appears as a near-magical substance that promises unfettered progress and access to the good life. Examining these plays in conjunction not only highlights the increasing presence of ecological concerns in dramatic pieces, but also illustrates the ways in which dramatic performance can distill enormous oil infrastructures into apprehensible worlds and thus create vital spaces for pondering the Petrocene.","PeriodicalId":41187,"journal":{"name":"Journal of Contemporary Drama in English","volume":"10 1","pages":"199 - 214"},"PeriodicalIF":0.5,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46287735","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}
Abstract This article situates two works by contemporary American playwright Adam Rapp – Faster (2002) and Ghosts in the Cottonwoods (2014) – in the wider context of the different traditions of ecological theatre that emerged in the United States in the twentieth century. These traditions can be characterised by their distinct spatial orientation, while similarly shifting focus away from the centrality of representing character and human subjectivity. Contemporary eco-drama retains this spatial orientation established by the landscape play (Gertrude Stein) and environmental theatre (Richard Schechner) but breaks with their displacement of character by developing an aesthetic mode which stages the formation of human subjectivity as deeply intertwined with concrete places. This article shows how Rapp’s plays turn places into “symptomatic spaces” in Una Chaudhuri’s sense that signify a deep interdependence between human subjectivity and nonhuman nature. My reading focuses on how Rapp’s plays contribute to the formation and the conceptualisation of a distinctly “Anthropocenic imaginary” in contemporary American drama.
{"title":"Symptomatic Spaces: Adam Rapp and American Eco-Drama in the Anthropocene","authors":"Julia Rössler","doi":"10.1515/jcde-2022-0010","DOIUrl":"https://doi.org/10.1515/jcde-2022-0010","url":null,"abstract":"Abstract This article situates two works by contemporary American playwright Adam Rapp – Faster (2002) and Ghosts in the Cottonwoods (2014) – in the wider context of the different traditions of ecological theatre that emerged in the United States in the twentieth century. These traditions can be characterised by their distinct spatial orientation, while similarly shifting focus away from the centrality of representing character and human subjectivity. Contemporary eco-drama retains this spatial orientation established by the landscape play (Gertrude Stein) and environmental theatre (Richard Schechner) but breaks with their displacement of character by developing an aesthetic mode which stages the formation of human subjectivity as deeply intertwined with concrete places. This article shows how Rapp’s plays turn places into “symptomatic spaces” in Una Chaudhuri’s sense that signify a deep interdependence between human subjectivity and nonhuman nature. My reading focuses on how Rapp’s plays contribute to the formation and the conceptualisation of a distinctly “Anthropocenic imaginary” in contemporary American drama.","PeriodicalId":41187,"journal":{"name":"Journal of Contemporary Drama in English","volume":"10 1","pages":"148 - 163"},"PeriodicalIF":0.5,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48061318","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":"Yana Meerzon, David Dean, and Daniel McNeil, ed. Migration and Stereotypes in Performance and Culture. Cham: Palgrave Macmillan, 2020, xvi + 298 pp., €124.99 (hardback), €85.59 (PDF ebook).","authors":"Anika Marschall","doi":"10.1515/jcde-2022-0018","DOIUrl":"https://doi.org/10.1515/jcde-2022-0018","url":null,"abstract":"","PeriodicalId":41187,"journal":{"name":"Journal of Contemporary Drama in English","volume":"10 1","pages":"256 - 258"},"PeriodicalIF":0.5,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47590962","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}
Abstract “We are shaped, to a greater extent than almost any other species, by contact with others. [. . .] Yet what counts now is to win. [. . .] And for this, we have ripped the natural world apart” (Monbiot). This quote stems from a Guardian article that is also printed as an epigraph in Tanya Ronder’s 2015 play Fuck the Polar Bears, and it reveals the connection between the Capitalocene, as described by Jason W. Moore, and contemporary eco-drama: both thematise the “Age of Loneliness” (Monbiot) in which everyone fights against each other. In contemporary drama, this behaviour is frequently reflected in the depiction of isolation and alienation from nature that is expressed in the form of disgust, for instance, by making objects that are associated with nature literally or metaphorically disgusting.To various degrees, the depiction of the Capitalocene in combination with disgust and abjection can be found in Fuck the Polar Bears as well as in Dawn King’s 2011 play Foxfinder. In both plays, disgust is depicted as degrading the relationship between humans and nonhuman nature. The dichotomy of nature and culture then lines up to “a seemingly endless series of human exclusions” (Moore, Introduction 2) and alienates humans from nature. In these plays, a random disgusting object functions as substitute for the border between humans and nature. By making toy polar bears or foxes disgusting, the border between humans and nature, and to some extent between humans and other humans, is redrawn, which leads to an increased sense of isolation and alienation. Therefore, both plays use disgust as a technique to extrapolate the lack of interconnection between humans and nature, which comments on the competitive, isolating, and destructive nature of the Capitalocene.
{"title":"Alienation, Abjection, and Disgust: Encountering the Capitalocene in Contemporary Eco-Drama","authors":"Leila Michelle Vaziri","doi":"10.1515/jcde-2022-0015","DOIUrl":"https://doi.org/10.1515/jcde-2022-0015","url":null,"abstract":"Abstract “We are shaped, to a greater extent than almost any other species, by contact with others. [. . .] Yet what counts now is to win. [. . .] And for this, we have ripped the natural world apart” (Monbiot). This quote stems from a Guardian article that is also printed as an epigraph in Tanya Ronder’s 2015 play Fuck the Polar Bears, and it reveals the connection between the Capitalocene, as described by Jason W. Moore, and contemporary eco-drama: both thematise the “Age of Loneliness” (Monbiot) in which everyone fights against each other. In contemporary drama, this behaviour is frequently reflected in the depiction of isolation and alienation from nature that is expressed in the form of disgust, for instance, by making objects that are associated with nature literally or metaphorically disgusting.To various degrees, the depiction of the Capitalocene in combination with disgust and abjection can be found in Fuck the Polar Bears as well as in Dawn King’s 2011 play Foxfinder. In both plays, disgust is depicted as degrading the relationship between humans and nonhuman nature. The dichotomy of nature and culture then lines up to “a seemingly endless series of human exclusions” (Moore, Introduction 2) and alienates humans from nature. In these plays, a random disgusting object functions as substitute for the border between humans and nature. By making toy polar bears or foxes disgusting, the border between humans and nature, and to some extent between humans and other humans, is redrawn, which leads to an increased sense of isolation and alienation. Therefore, both plays use disgust as a technique to extrapolate the lack of interconnection between humans and nature, which comments on the competitive, isolating, and destructive nature of the Capitalocene.","PeriodicalId":41187,"journal":{"name":"Journal of Contemporary Drama in English","volume":"10 1","pages":"231 - 246"},"PeriodicalIF":0.5,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49588141","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}
Abstract Tim Spooner has described his practice as “an increasingly complex series of live performances centred on the revelation of life in material.”1 In this article, I consider this revelation as the precondition of a theatre ecology. Spooner stages a theatrical encounter between bodies and environments, in which distinctions between person-thing, subject-object, self-other no longer hold. Whilst there are evident parallels between this practice and posthumanist, or new-materialist philosophy, I shall describe Spooner’s theatre as artlike.This article responds to two thematics outlined in the original call for papers for CDE 2021: “eco-spaces” and “eco-aesthetics.” The argument runs: 1) an ecological space is the result of an ecological aesthetics; theatre is considered fundamentally social, political in significance; art is fundamentally ecological in significance; 2) ecocritical theatre and theatre ecology are categorically distinct: in ecocriticism, political, social, and cultural concerns mediate a concern for nature; in a theatre ecology nature is reconstructed virtually; 3) ecocriticism stages a recognition of an ecological crisis in social terms; theatre ecology stages a revelation of an environment; 4) against theatre, there is legislation; 5) a theatre ecology extends a juxtapositional logic of political ecology: this is a false start and ill-timed.The argument leads to a reconstruction of three gestures drawn from three of Spooner’s performances. In these gestures, theatre is rendered artlike. The exposition describes Spooner’s practice in terms of embodiment and occupation, before considering how the ecological implications of an artlike theatre are, firstly and finally, ethical.
{"title":"An Art Like Nature: Theatre Environment as Territory in Tim Spooner Performances","authors":"S. Bowes","doi":"10.1515/jcde-2022-0005","DOIUrl":"https://doi.org/10.1515/jcde-2022-0005","url":null,"abstract":"Abstract Tim Spooner has described his practice as “an increasingly complex series of live performances centred on the revelation of life in material.”1 In this article, I consider this revelation as the precondition of a theatre ecology. Spooner stages a theatrical encounter between bodies and environments, in which distinctions between person-thing, subject-object, self-other no longer hold. Whilst there are evident parallels between this practice and posthumanist, or new-materialist philosophy, I shall describe Spooner’s theatre as artlike.This article responds to two thematics outlined in the original call for papers for CDE 2021: “eco-spaces” and “eco-aesthetics.” The argument runs: 1) an ecological space is the result of an ecological aesthetics; theatre is considered fundamentally social, political in significance; art is fundamentally ecological in significance; 2) ecocritical theatre and theatre ecology are categorically distinct: in ecocriticism, political, social, and cultural concerns mediate a concern for nature; in a theatre ecology nature is reconstructed virtually; 3) ecocriticism stages a recognition of an ecological crisis in social terms; theatre ecology stages a revelation of an environment; 4) against theatre, there is legislation; 5) a theatre ecology extends a juxtapositional logic of political ecology: this is a false start and ill-timed.The argument leads to a reconstruction of three gestures drawn from three of Spooner’s performances. In these gestures, theatre is rendered artlike. The exposition describes Spooner’s practice in terms of embodiment and occupation, before considering how the ecological implications of an artlike theatre are, firstly and finally, ethical.","PeriodicalId":41187,"journal":{"name":"Journal of Contemporary Drama in English","volume":"10 1","pages":"68 - 82"},"PeriodicalIF":0.5,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45851339","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}
Critical theatre ecologies are a field within the environmental humanities. Ecology is usually understood as “ the study of the relationships between living organisms, including humans, and their physical environment ” ( “ What Is Ecology? ” ; see also Alaimo 100). It is therefore little wonder that notions of interconnected-ness and interrelationality are at the centre of an endeavour that seeks to trace the theatre ’ s ecologies. We use the term critical theatre ecologies , rather than theatre ecology , to try to do justice to the multitude of approaches, methodologies, and text- and performance-related phenomena the ecological engagements of the theatre entail. When we speak of critical theatre ecologies, we imply that each of these approaches, each methodology, and each reflection on these aforemen-tioned phenomena must always and necessarily entail a self-reflexive perspective that interrogates the avenues and the limitations of their theoretical horizons. make an appropriately complex diagnosis of the present. diagnosis, as we shall see in the articles collected in and The results of critical theatre ecologies are decisive answers and fresh perspectives to the central challenges of what the German sociol-ogist Ulrich Beck has influentially called “ world risk society. ” This special issue corroborates that what is needed are inter- and transdisciplinary approaches and thus the explicit participation and profiling of the arts, of the theatre in particular, and of the humanities in general. Texts are environmental, not simply because they are made of paper and ink that comes from trees and plants (or other terrestrial sources), or because they are sometimes about ecological matters. Reading is formally ecological, since in order to read we must take ac-count of the dark sides of things, as intimately connected to the “ lighter ” sides as the recto and verso of a piece of writing paper. Reading discovers a constantly flowing, shifting play of temporality, and a constant process of differentiation – like evolution. All texts are environmental: they organise the space around and within them into plays of meaning and non-meaning. ( “ Deconstruction and/as Ecology ” 292)
{"title":"Co-Mutability, Nodes, and the Mesh: Critical Theatre Ecologies – An Introduction","authors":"M. Middeke, Martin Riedelsheimer","doi":"10.1515/jcde-2022-0002","DOIUrl":"https://doi.org/10.1515/jcde-2022-0002","url":null,"abstract":"Critical theatre ecologies are a field within the environmental humanities. Ecology is usually understood as “ the study of the relationships between living organisms, including humans, and their physical environment ” ( “ What Is Ecology? ” ; see also Alaimo 100). It is therefore little wonder that notions of interconnected-ness and interrelationality are at the centre of an endeavour that seeks to trace the theatre ’ s ecologies. We use the term critical theatre ecologies , rather than theatre ecology , to try to do justice to the multitude of approaches, methodologies, and text- and performance-related phenomena the ecological engagements of the theatre entail. When we speak of critical theatre ecologies, we imply that each of these approaches, each methodology, and each reflection on these aforemen-tioned phenomena must always and necessarily entail a self-reflexive perspective that interrogates the avenues and the limitations of their theoretical horizons. make an appropriately complex diagnosis of the present. diagnosis, as we shall see in the articles collected in and The results of critical theatre ecologies are decisive answers and fresh perspectives to the central challenges of what the German sociol-ogist Ulrich Beck has influentially called “ world risk society. ” This special issue corroborates that what is needed are inter- and transdisciplinary approaches and thus the explicit participation and profiling of the arts, of the theatre in particular, and of the humanities in general. Texts are environmental, not simply because they are made of paper and ink that comes from trees and plants (or other terrestrial sources), or because they are sometimes about ecological matters. Reading is formally ecological, since in order to read we must take ac-count of the dark sides of things, as intimately connected to the “ lighter ” sides as the recto and verso of a piece of writing paper. Reading discovers a constantly flowing, shifting play of temporality, and a constant process of differentiation – like evolution. All texts are environmental: they organise the space around and within them into plays of meaning and non-meaning. ( “ Deconstruction and/as Ecology ” 292)","PeriodicalId":41187,"journal":{"name":"Journal of Contemporary Drama in English","volume":"10 1","pages":"2 - 25"},"PeriodicalIF":0.5,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43386791","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}
Abstract This article considers how processes associated with reviving well-known plays can offer new theatrical approaches to the climate crisis. Such revivals can make visible ecological or environmental features that might have gone unnoticed in the past, but which can inspire agency and instil knowledge in the present. This idea is explored in relation to an Irish production of Caryl Churchill’s Far Away (2000), which was staged on an uninhabited island off the South Coast of Ireland in 2017 by Corcadorca Theatre Company. This production can be seen as offering a practical illustration of many of the theoretical ideas associated with theatre ecologies, especially for how Corcadorca blurred distinctions between audience and performers, indoors and outdoors, performance and spectatorship, past and present, and much more. This production should thus be seen as a case study that is worthy of analysis in its own right but which also allows for the identification of viable practices for the staging of theatrical revivals more generally.
{"title":"“A Missile to the Future”: The Theatre Ecologies of Caryl Churchill’s Far Away on Spike Island","authors":"P. Lonergan","doi":"10.1515/jcde-2022-0009","DOIUrl":"https://doi.org/10.1515/jcde-2022-0009","url":null,"abstract":"Abstract This article considers how processes associated with reviving well-known plays can offer new theatrical approaches to the climate crisis. Such revivals can make visible ecological or environmental features that might have gone unnoticed in the past, but which can inspire agency and instil knowledge in the present. This idea is explored in relation to an Irish production of Caryl Churchill’s Far Away (2000), which was staged on an uninhabited island off the South Coast of Ireland in 2017 by Corcadorca Theatre Company. This production can be seen as offering a practical illustration of many of the theoretical ideas associated with theatre ecologies, especially for how Corcadorca blurred distinctions between audience and performers, indoors and outdoors, performance and spectatorship, past and present, and much more. This production should thus be seen as a case study that is worthy of analysis in its own right but which also allows for the identification of viable practices for the staging of theatrical revivals more generally.","PeriodicalId":41187,"journal":{"name":"Journal of Contemporary Drama in English","volume":"10 1","pages":"133 - 147"},"PeriodicalIF":0.5,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48526262","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":"Maria Chatzichristodoulou, ed. Live Art in the UK: Contemporary Performances of Precarity. London: Methuen Drama, 2020, x + 212 pp., £65 (hardback), £19.79 (paperback), £15.83 (PDF ebook).","authors":"Sam Haddow","doi":"10.1515/jcde-2022-0017","DOIUrl":"https://doi.org/10.1515/jcde-2022-0017","url":null,"abstract":"","PeriodicalId":41187,"journal":{"name":"Journal of Contemporary Drama in English","volume":"10 1","pages":"252 - 255"},"PeriodicalIF":0.5,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45619561","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：