Pub Date : 2020-12-22DOI: 10.1080/14682761.2020.1862553
Glenn A. Odom
My review is shaped by the fact that I am deeply invested in understanding theatre theory as it emerges from an array of locales around the world, although I have a non-expert knowledge of Indian t...
尽管我对印度戏剧没有专业知识，但我对世界各地的戏剧理论的深入了解，塑造了我的评论。
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Pub Date : 2020-11-01DOI: 10.1080/14682761.2020.1807191
G. N. Ozor, Ciarunji Chesaina, M. Odari
ABSTRACT Umulumgbe is a community in the South Eastern sub-tribe of the Igbo of Nigeria. They are known for their strong belief in the Supreme Being who is known as Chukwu Okike – the Creator and in the ancestors. Although they believe in other smaller gods, their reverence to the ancestors is apparent in the way they perform their Odo masquerade and struggle to sustain it. These ancestors who are known dead relatives in the community visit the living every two years and stay with them for a period of six months in the form of Odo masquerade. Umulumgbe Odo masquerade ritual performance is an art form that reflects the creative and imaginative work of the people of Umulumgbe. The performance provides an avenue for the participants to dramatize how their belief in the afterlife has contributed to their social and psychological wellbeing, especially, during the loss of a loved one. This study also concentrates on how the participants utilize this performance as an opportunity to promote peace, unify the people, and solidify communal bonds. Umulumgbe Odo masquerade performance is a social drama in nature, occupying the space between the real and the imagined, focusing on the continuation of life after physical death in the spiritual world.
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Pub Date : 2020-10-30DOI: 10.1080/14682761.2020.1810500
Kamila Lewandowska
ABSTRACT This article is concerned with collective judgement-making in the theatre field. Using the empirical case of expert theatre panels, it explores the rules of communicating, testing, and validating judgements in social interactions. The research is based on interviews with 30 theatre critics who served on review panels at the National Contemporary Polish Drama Staging Competition. The results shed light on what kind of statements, behaviour, and actions are perceived as manifestations of rationality in group decision-making. The analysis of data allows to elucidate different tactics, strategies, and efforts – such as providing justifications or preserving emotional distance – undertaken by panel members to secure and cultivate what they believe is a proper evaluation.
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Pub Date : 2020-10-25DOI: 10.1080/14682761.2020.1824638
K. Beswick
or less worked out scenes’ (72) but ‘over 500 archived sheets’ (72), which can be ascribed to the project with varying extents of certainty. On the other hand, The Bread Store and The Judith of Shimoda are both ‘“almost” complete’ (183). Phoebe von Held and Matthias Rothe, who provide the introduction to Fleischhacker, usefully note some ‘blind spots in Brecht’s reception of American society’ (15) with regard to race that are evident in the play, which might stand out to a contemporary reader. Similar qualifications regarding the reception and presentation of Japanese society and culture would have been welcome in the introduction to The Judith of Shimoda. However, the multiple layers of this text, which is the ‘first English translation of [. . .] Neureuter’s German-language reconstruction (2006) of [Brecht and Wuolijoki’s] respective adaptation(s) (1940) of [. . .] Shaw’s English rendering (1935) of Yamamoto Yūzō’s 1929 play’ (295), make the attribution of any potentially problematic attitudes to any one Western author practically impossible. Marc Silberman, who translated and edited Garbe/Büsching, presents the final fragment of the collection in a facing-page layout. While he gives his reasoning for this choice, namely the extremely fragmented nature of the material, this particular layout makes both editorial commentary and play fragment significantly harder to read than the rest of the collection. Kuhn and Ryland’s edited collection aims to expand their readers’ understanding of Bertholt Brecht’s creative process, and succeeds in doing so. The book manages to leave enough gaps for the reader to draw their own conclusions on each fragment, while generating a greater understanding and appreciation for Brecht’s productivity and ongoing innovation. The various translations in the collection clearly demonstrate different aspects of the range of non-naturalistic, rhythmical and elevated styles of Brecht’s language. Further, the clarity with which the collaborative nature of Brecht’s approach is detailed in each case provides useful insights into his working methods and principles. Each contribution is accessible in tone, though all require sound basic knowledge of Brecht’s life, work, legacy, and the political events of the early to mid-20 century. As the collection presumes somewhat substantial preexisting knowledge, its readership would most likely be comprised of undergraduate students in the later stages of their degree, postgraduates, and scholars with an interest in Brecht. This book presents an inviting extension of English-language materials on one of the most wellknown theatre-makers of the 20 century.
或者更少的工作场景”(72)，但“超过500个存档页”(72)，这可以在不同程度上归因于该项目。另一方面，《面包店》和《下田的朱迪思》都“几乎”完成了(183)。菲比·冯·赫尔德和马蒂亚斯·罗特为弗莱施哈克提供了介绍，他们有用地指出了一些“布莱希特对美国社会的接受中的盲点”(15)，这些盲点在剧中很明显，可能会引起当代读者的注意。在《下田的朱迪思》的介绍中，关于日本社会和文化的接受和介绍方面的类似资格将受到欢迎。然而，这篇文章的多重层次，这是“[…]Neureuter对[Brecht和Wuolijoki]各自改编(1940)的[…]Shaw对山本Yūzō 1929年戏剧的英文翻译(1935)的[…]的德语重建(2006)的第一个英语翻译”(295)，使得任何潜在的问题态度归因到任何一个西方作家实际上是不可能的。翻译和编辑Garbe/ b sching的马克·西尔伯曼(Marc Silberman)以整版的形式展示了该系列的最后一部分。虽然他给出了他选择的理由，即材料的极度碎片性，但这种特殊的布局使得编辑评论和演奏片段比其他部分更难以阅读。库恩和瑞兰德的编辑集旨在扩大读者对布莱希特创作过程的理解，并成功地做到了这一点。这本书设法留下了足够的空白，让读者对每个片段得出自己的结论，同时对布莱希特的生产力和不断的创新有了更好的理解和欣赏。集合中的各种译本清楚地展示了布莱希特语言的非自然主义，节奏和提升风格的不同方面。此外，布莱希特方法的协作性质在每个案例中都有详细说明，这为他的工作方法和原则提供了有用的见解。每一篇文章都很容易理解，尽管都需要对布莱希特的生活、工作、遗产和20世纪早期到中期的政治事件有一定的了解。由于该文集假定存在一些实质性的预先存在的知识，它的读者很可能包括在学位后期阶段的本科生，研究生和对布莱希特感兴趣的学者。这本书介绍了20世纪最著名的戏剧家之一的英语材料的诱人的延伸。
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Pub Date : 2020-10-21DOI: 10.1080/14682761.2020.1834258
Maria-Alina Asavei, Jiri Kocian
ABSTRACT This paper lifts the curtain on the cross-fertilization of political resistance and theatre performance in three post-socialist countries – Estonia, the Czech Republic, and Hungary – by focusing on how theatre can function as sites of resistance to right-wing populism from a cross-cultural perspective. The argument is that theatre performance can function as a critical platform that engages strategies from popular culture to reveal the voices of those who are silenced by populist institutions and actors. Although resistance to populism through critical cultural production is very seldom addressed in academic studies dedicated to Central and Eastern Europe, we claim that theatre can illuminate fresh modes of political action and critical knowledge about world politics. The impetus for this study is Angela Marino’s claim that ‘populism is inseparable from the embodied, relational, and material aesthetics of performance.’ Thus, this paper focuses on contemporary theatrical performances that are put to the opposite end, namely to resist the cultural essentialism put forth by the right-wing populist entrepreneurs in Central and Eastern Europe.
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Pub Date : 2020-10-07DOI: 10.1080/14682761.2021.1889937
Glenn A. Odom
ABSTRACT ‘Asking the Wrong Questions: Musings on a Conversation with Gakire Katese Odile about Intercultural Theatre’: After an interview with Gakire Katese Odile, a Rwandan drummer, director, and entrepreneur, I was struck by the failure of my theories to account for her work. Rehearsing this failure allows for an exploration of the ramifications of acknowledging the fact that Odile had already theorized her own work. She uses her theorization to shift the nature of the debate surrounding the relationship between theatre and performance, the nature of interculturalism, and the political impact of theatre. I find myself challenged to consider what theoretical pluralism – as opposed to the assimilative mode so often on display in European academies – might do to our intellectual landscape.
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Pub Date : 2020-09-01DOI: 10.1080/14682761.2020.1807216
Jessica Bowles
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Pub Date : 2020-09-01DOI: 10.1080/14682761.2020.1807212
D. O’Brien
ABSTRACT Theatre stakes a claim to represent individuals, communities, and nations. Yet both the workforce and the audience are marked by significant inequalities. There are absences of people of colour and those from working-class origins, along with significant gender inequalities in specific roles and specific productions. Awareness of these issues has, in part, been driven by recent research from social science. The techniques from social science that make inequalities visible can be at odds with the preferred modes of understanding inequality favoured by theatre practitioners. This paper is situated at the intersection of social scientific and theatre practice, considering the potential and pitfalls of methods of making inequality visible. In doing so, it frames the discussions that follow in the special issue, as well as suggesting ways that theatre and social science might have productive working partnerships.
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Pub Date : 2020-09-01DOI: 10.1080/14682761.2020.1807214
Kerrie Schaefer, A. Abdulla, Neil Beddow, J. Cook, Hiba Elhindi, Ingrid Jones, Tracey Harvey, K. Hopkins, Rosalie Pordes, Sara Snook, Helen Tomlin
ABSTRACT This article expounds acta’s model of participatory community theatre developed over the years since the organisation was founded in 1985. It examines how acta’s commitment to access and participation has come to be enshrined in the ‘cycle of engagement’ which offers multiple pathways into and through participation in theatre making. Recently, these pathways into experiencing and making theatre have been extended into (paid) training and employment through the launch of the Foundation Worker (FW) programme. The article examines acta’s Foundation Worker programme which offers first jobs with training and mentoring to those new to the community/participtory arts workforce, whether recent arts graduates, community theatre participants or civil society/third sector workers. It is argued that the co-articulation of the cycle of engagement and the Foundation Worker programme reflects acta’s democratic and developmental ethos of theatre making. The aim of this piece is to contextualise acta’s history and development as a community theatre company and to outline the pathways into employment and training that acta’s FW programme offers. The paper is co-authored with acta and FWs (in third-person voice) after a focus group at the acta Centre, Bedminster, in July 2019, with follow up over email.
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Pub Date : 2020-09-01DOI: 10.1080/14682761.2020.1807206
Aly Colman, Geoffrey Colman
ABSTRACT This paper examines the perceptions and aspirations of secondary school pupils interested in a career in the performing arts. The pupils in this case study were participating in drama-based courses and this research offers findings relevant for those working in schools, FE and HE, as well as the creative arts industries. This research is located within a coastal area of deprivation, Waveside, situated within England, UK. We have used fictional names for the towns, school and participants in this research, to offer anonymity. England’s coastal areas are often linked to deprivation. Within this context, a focus group of GCSE, A level and BTEC Drama pupils from Seagreen Secondary Academy, a secondary school in Waveside, provides the data that informs this research, with additional contextual narrative from the pupils’ teacher. The findings show that to study a performing arts subject is perceived by some pupils as an act of transgression. These pupils resisted neoliberal curriculum priorities resulting in tensions between school, parents and friends. Those acting as gate-keepers to professional actor training and other career opportunities within the arts, may need to review practices for recruitment and development support within marginalised communities.
本文考察了对表演艺术职业感兴趣的中学生的看法和愿望。在这个案例研究中，学生们参加了以戏剧为基础的课程，这项研究为那些在学校、高等教育和高等教育以及创意艺术行业工作的人提供了相关的发现。这项研究是位于沿海地区的剥夺，波边，位于英国英格兰。为了匿名，我们使用了虚构的城镇、学校和参与者的名字。英格兰的沿海地区经常与贫困联系在一起。在此背景下，来自西格林中学(Waveside的一所中学)的GCSE, a level和BTEC戏剧学生的焦点小组提供了为本研究提供信息的数据，并提供了学生老师的额外背景叙述。研究结果表明，一些学生认为学习表演艺术科目是一种越轨行为。这些学生抵制新自由主义的优先课程，导致学校、家长和朋友之间的紧张关系。那些在艺术领域充当专业演员培训和其他职业机会守门人的人，可能需要审查边缘化社区的招聘和发展支持做法。
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