Pub Date : 2022-07-06DOI: 10.1080/14682761.2022.2097368
Tom Cornford
Abstract
This editorial explores synergies between the articles gathered in this issue, which take a range of approaches to developing ecological analyses of both the creation and reception of performances and theatre history more widely. The editorial concludes with a reflection on the current UK government’s deliberate dereliction of the higher education sector, and its consequnces for the arts and humanities in particular. It calls for a concerted effort to grasp the politics of this developing situation, arguing that this will require two things. First, we must understand the drastic reshaping of the sector and the reduction of arts and humanities provision as a deliberate objective of government. Secondly, we must seek to engage resistance to this project at the ecological level at which those of us who work in the sector are entangled in its delivery, and find ways of creating alternative possibilities.
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Pub Date : 2022-03-09DOI: 10.1080/14682761.2022.2046366
Phil M. Smith
ABSTRACT This paper describes an experimental project conducted by artists/researchers Crab & Bee (Helen Billinghurst and Phil Smith). The project was put together in response to the Covid Lockdown restrictions during 2020 in the UK and drew upon an art and performance practice that had been unfolding since 2018. ‘Testing Scores for Performing Placestories’ describes the testing of a group of scores (with accompanying avatars, gameboards, narratives and images) for participants to perform in their own homes, for their effectivesss (or lack of it) in encouraging participants to make displaced performances by ‘fictioning’ with unhuman agents. The scores were based on narrative features of a terrain around the Tamar river system (a post-industrial landscape of former mining sites, ruined quays and hollow lanes, with a troubled ecology and a varied folklore) gathered by Crab & Bee during performative visits to these sites. The players were encouraged to use the games to immerse themselves, in displaced domestic settings, in the materials and folkloric revenant of the wounded terrain and then invited to respond to their experiences. The second half of the paper addresses what the 22 detailed responses from the participants reveal, and draws some provisional conclusions.
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Pub Date : 2022-03-08DOI: 10.1080/14682761.2022.2035120
María Bastianes
ABSTRACT This article seeks to reconstruct and explore the initial theatrical reception of Lorca in the UK, focusing on why and how his texts entered the British theatrical ecosystem, and how they created connections among artists in and beyond Britain. This exploration of a largely ignored archive of the past also opens new gates for future theoretical reflections surrounding the complex symbolic weight of the author and his work. This, in turn, offers an insightful case study for analysing the role of theatre in forging national imaginaries and creating cultural exchange between artists of different countries in the tumultuous decades of pre and post-Second World War, a period of crisis of national/European imaginaries and realignment of global geopolitical powers that in many ways mirrors our post Brexit COVID 19 present.
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Pub Date : 2022-03-03DOI: 10.1080/14682761.2022.2047321
R. Dennis, Kate Hunter
ABSTRACT This article investigates how deeply engaging embodied perception can be nurtured and refined over a lifetime. In this article, we propose the ways in which an industry-based, self-styled performance training trajectory and a DIY approach to lifelong learning in performance-making cohere as an ecology of practice. Selected exercises are drawn on to consider how skills are accrued and how a consistent approach to practice can afford the practitioner a sustainable and flexible approach. These training examples are then considered as enablers of kinesthetic listening and embodied knowledge through the theorising of Maxine Sheets-Johnstone, George Lakoff, Mark Johnston and Shaun Gallagher, in order to discuss the deep perceptual learning that is possible when an ecological approach to performer training is adopted. Finally, we open up the paper to a broader discussion about industry sustainability and performer wellbeing, arguing for this ecological approach, which affords the practitioner aesthetic agency, social responsibility, and political engagement, as a crucial contribution to the debate.
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Pub Date : 2022-03-01DOI: 10.1080/14682761.2022.2043610
María del Mar González Chacón
ABSTRACT Crossing the frontiers looking for inspiration has been part of the Irish literary tradition, and translation and adaptation of continental writers such as Federico García Lorca have played an important role. The dissenting Lorquian voices revive in Ireland to find new meanings for the silences of the original play. This article explores an unpublished version of La Casa de Bernarda Alba, by Lynne Parker (The House of Bernarda Alba, 1993). The study will first review the relationship between Irish theatre and continental drama by the end of the twentieth century, to address its internationalization as well as the relationship between the North and the South; after this, the contexts of (re)creation of the play will be analyzed, with a special interest in the situation of women in society in the Spain of Lorca and the Belfast of Parker. The study will include a revision of the process of Hibernization Parker carried out from the English version she used as a source. Furthermore, an interview with the playwright will be used to illustrate some points. Conclusions aim at recognizing the play as an act of linguistic acculturation and appropriation and as part of the canon of Irish rewritings of Lorca.
跨越国界寻找灵感一直是爱尔兰文学传统的一部分，而费德里科García洛尔卡等大陆作家的翻译和改编在其中发挥了重要作用。洛尔金的反对声音在爱尔兰复活，为原剧的沉默寻找新的意义。本文探讨了Lynne Parker未出版的《La Casa de Bernarda Alba》(The House of Bernarda Alba, 1993)。该研究将首先审查爱尔兰戏剧和大陆戏剧之间的关系，到二十世纪末，以解决其国际化以及南北之间的关系;在此之后，将分析(重新)创作的背景，特别关注洛尔卡的西班牙和帕克的贝尔法斯特的社会妇女状况。这项研究将包括对冬眠帕克的过程进行修订，根据她使用的英文版本作为来源。此外，对剧作家的采访将用来说明一些观点。结论旨在承认戏剧作为语言文化适应和挪用的行为，并作为爱尔兰重写洛尔卡的佳能的一部分。
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Pub Date : 2022-01-02DOI: 10.1080/14682761.2022.2037351
Glenn A. Odom
In my first editorial for STP, I noted that we were moving in new directions. In the time between then and now, there were many interesting already-accepted articles waiting for publication and several special issues on a variety of topics. This will be the first issue that I have assembled to consists entirely of articles accepted after I came on board. The act of writing this editorial has given me a moment to pause and consider my imagination of the role of editor. As the following descriptions of the articles in this issue will make clear, no one editor could possibly have the linguistic, cultural, historical and methodological knowledges necessary to expertly engage with the richness of the materials offered. In this issue there are a cluster of articles on the Middle East, an area whose theatre tends to be underrepresented in Anglophone academic journals (although this is changing). Majeed Mohammed Midhin and Clare David’s ‘National Cultural History and Transnational Political concerns in Rasha Radhil’s Ishtar in Baghdad’ examines the multiple overlapping frames in which this play might be read, and, in doing so, explores the unequal flows of globalization. Tiran Manucharyan’s ‘Irreconcilable with Time: Lenin al-Ramlī’s Theatre in Times of Crisis’ considers the various temporalities created by competing and overlapping epistemologies in Egypt. Tsu-Chung Su’s ‘The Qibla – A Never-ending Story of Migration, Runaway, and Pilgrimage’ considers the performative nature of pilgrimages in the contemporary context. In each of these cases, the collision of epistemes is visible – through temporality, through movement and through political knowledges. These articles specifically do not contort their material to fit within European theories of theatre, but, instead, shed light on theoretical contexts more local to the materials in question. While focusing on a different geographically region, Yu-Jhung Hwang’s ‘Borderline Society and “Rebellious Mourning”: The Case of South Korean Feminist Activism’ also engages with the intersections and conflicts between epistemes – in this case surrounding gender. Likewise, moving back to the UK Victoria Bianchi’s ‘Bring me a Souvenir: Performing Herstory on Ayr Beach’ considers the ways in which history, myth and geography intersect with storytelling to challenge dominant narratives and to create alternative structures. In that each of these pieces so carefully lays out the ways in which we should understand and approach the materials in question, it would be antithetical for me to then perform an act of reframing – of forcing them to fit together under the auspices of my own episteme. Where then to I leave my mark on this process? Certainly, as an editor, I can provide feedback on clarity, but the methodologies and writing styles of these pieces vary widely enough that I am forced to consider that my thoughts on ‘clarity’ as situated, personal (or systemic) judgements rather than as anything approaching an objective
在我为STP撰写的第一篇社论中，我指出我们正朝着新的方向前进。从那时到现在，有许多有趣的已经被接受的文章等待出版，还有一些关于各种主题的特刊。这将是我来以后第一期全部收录文章的杂志。写这篇社论的行为让我停下来思考一下我对编辑角色的想象。正如本期文章的以下描述所表明的那样，没有一个编辑可能拥有必要的语言、文化、历史和方法论知识，以熟练地处理所提供的丰富材料。在这一期中，有一组关于中东的文章，这个地区的戏剧在英语学术期刊上的代表性往往不足(尽管这种情况正在改变)。马吉德·穆罕默德·米欣和克莱尔·大卫的《拉莎·拉迪尔的《巴格达的伊什塔》中的国家文化史和跨国政治问题》研究了这部戏剧可能被解读的多重重叠框架，并以此探索了全球化的不平等流动。Tiran Manucharyan的《与时间不可调和:列宁·拉姆勒在危机时期的戏剧》考虑了埃及由相互竞争和重叠的认识论所创造的各种暂时性。苏祖忠的作品《Qibla——一个永不停息的迁徙、逃亡和朝圣的故事》思考了当代背景下朝圣的表演本质。在每一种情况下，认识的碰撞都是可见的——通过时间性，通过运动和通过政治知识。这些文章特别没有扭曲他们的材料，以适应欧洲的戏剧理论，而是，相反，阐明理论背景更局部的材料问题。黄禹忠的《边缘社会与“叛逆的哀悼”:韩国女权主义运动案例》在关注不同地理区域的同时，也涉及了认知之间的交集和冲突——在这种情况下，围绕着性别。同样，回到英国，Victoria Bianchi的“Bring me a Souvenir: Performing Herstory on Ayr Beach”考虑了历史、神话和地理与讲故事的交叉方式，以挑战主流叙事并创造另一种结构。每一篇文章都如此仔细地列出了我们应该理解和处理问题材料的方式，对我来说，在我自己的知识的支持下，强迫它们融合在一起，这将是对立的。那么在这个过程中我该在哪里留下我的印记呢?当然，作为一名编辑，我可以提供关于清晰度的反馈，但这些文章的方法和写作风格差异很大，以至于我不得不考虑我对“清晰度”的想法是情境，个人(或系统)判断，而不是任何接近客观立场的东西。《戏剧与表演研究》2022年第42卷第1期。1,1 - 2 https://doi.org/10.1080/14682761.2022.2037351
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Pub Date : 2021-12-16DOI: 10.1080/14682761.2021.2017138
M. Midhin, David Clare
ABSTRACT In Rasha Fadhil’s 2003 play Ishtar in Baghdad, she has Ishtar and Tammuz, mythological figures from Iraq’s ancient past, appear in Baghdad during the Iraq War, and has them experience many of the horrors associated with the American occupation, including being tortured at Abu Ghraib prison. This article demonstrates that, in writing the play, Fadhil attempted to engage audiences both in Iraq and across the wider world. Fadhil’s attempt to appeal to Iraqi audiences was related to her employment of a common technique in Iraqi drama: discussing the political present by invoking characters from history or Iraqi mythology. But Fadhil broke new ground by ‘mix[ing …] legend and reality,’ rather than keeping the action safely confined to the past or a mythical realm. Her play was also revolutionary in its focus on women within a story that, within Iraqi drama and media, would normally focus primarily or exclusively on men. Ultimately, the risks that Fadhil took have limited the play’s appeal to Iraqi theatremakers and readers. Fadhil’s play also aspired to touch and influence people across the wider world. Specifically, she wanted to use the play to expose and condemn the corruption and hypocrisy at the heart of American neo-imperialism.
在Rasha Fadhil 2003年的戏剧《伊师塔在巴格达》(Ishtar In Baghdad)中，她让伊师塔和塔木兹——伊拉克古代的神话人物——在伊拉克战争期间出现在巴格达，并让他们经历了许多与美国占领有关的恐怖事件，包括在阿布格莱布监狱遭受酷刑。这篇文章表明，在写剧本时，法蒂勒试图吸引伊拉克和世界各地的观众。法蒂勒试图吸引伊拉克观众，这与她在伊拉克戏剧中使用的一种常见技巧有关:通过援引历史或伊拉克神话中的人物来讨论政治现状。但法蒂勒通过“混合传说和现实”开创了新天地，而不是把剧情牢牢地局限在过去或神话世界里。在伊拉克戏剧和媒体通常主要或只关注男性的故事中，她的戏剧对女性的关注也是革命性的。最终，法迪勒所冒的风险限制了该剧对伊拉克剧作家和读者的吸引力。法蒂勒的戏剧也渴望感动和影响世界各地的人们。具体来说，她想用这部剧来揭露和谴责美国新帝国主义核心的腐败和虚伪。
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Pub Date : 2021-12-07DOI: 10.1080/14682761.2021.2010171
Shelly Zer-Zion
ABSTRACT David Bergelson’s “I Shall Not Die but Live” takes place during the Nazi invasion of the USSR, in a collective settlement adjacent to an agricultural experimentation farm in the Ukraine. The world premiere of the play took place in Habima in May 1944. It was the first theatre production performed in an Eretz-Israeli theatre to deal with the extermination of the Jews during the Holocaust. This article follows the transnational network facilitated by this play, its production and public discourse, and explores how this play imported into the Yishuv a symbolic conceptualization of the Holocaust and the Jewish struggle against Nazism. The article points to the centrality of the transnational Jewish cultural mechanism in the shaping of a national, Eretz-Israeli Jewish identity.
David Bergelson的《我不会死，我要活着》发生在纳粹入侵苏联期间，在乌克兰一个农业实验农场附近的集体定居点。该剧于1944年5月在夏威夷举行了全球首演。这是在埃雷兹-以色列剧院上演的第一部关于大屠杀期间犹太人被灭绝的戏剧作品。本文遵循这部戏剧的跨国网络，它的制作和公共话语，并探讨这部戏剧如何将大屠杀和犹太人反对纳粹主义的象征性概念引入伊休夫。本文指出了跨国犹太文化机制在形成民族的埃雷兹-以色列犹太人身份的过程中所起的中心作用。
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Pub Date : 2021-11-22DOI: 10.1080/14682761.2021.2006925
Soudabeh Ananisarab
ABSTRACT This article considers the impact of the not-for-profit motive promoted by radical campaigners of the New Theatre movement on accounts of British theatre history. Using the Malvern Festival (1929–1949) as a case study of similar ventures associated with the New Theatre movement, this article explores the ways in which influential figures involved with these projects have distorted narratives of theatre through their emphasis on the not-for-profit/commercial binary opposition. The correspondence between key collaborators in the Festival – Bernard Shaw, Sir Barry Jackson and the lessee of the Malvern Theatre, Roy Limbert – discussed in this article reveals the flaws in such narratives, contradicting previous accounts of the Festival. These letters reveal that Shaw and Jackson failed to adhere to their own condemnations of profitmaking as they struggled to reconcile this outlook with the reality of the Malvern Festival and more broadly the material conditions of theatre.
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Pub Date : 2021-10-25DOI: 10.1080/14682761.2021.1997441
Ana Cristina Nunes Pais
ABSTRACT Created by Eugene Gendlin and Mary Hendricks, Thinking at the Edge (TAE) enables the articulation of meaning implicit in embodied experience, which in turn discloses the affective meaning of words (or topics), thus, empowering one to speak and think creatively from one’s felt knowledge. In this article, I present and analyse three TAE processes undertaken by Portuguese native speaker performers – Sónia Baptista, Maria Duarte, and Andrea Maciel – who have chosen to explore and expand the terms ‘performing’, ‘presence’, and ‘play’, respectively. Considering these terms from the felt sense of each performer’s culturally and aesthetically situated experience opens new ground to build a collaborative and affectively embodied vocabulary that can illuminate different approaches or lines of enquiry into some of the core concepts of theatre practice and performance studies. Based on these three cases, I argue that TAE is a stimulating tool to access the felt sense of live performance, thus contributing to the development of research on affect from a meaningful personal standpoint.
尤金·詹德林(Eugene Gendlin)和玛丽·亨德里克斯(Mary Hendricks)提出了“边缘思考”(Thinking at the Edge, TAE)，它使隐含在具身经验中的意义得以表达，从而揭示词语(或话题)的情感意义，从而使人们能够根据自己的感受知识创造性地说话和思考。在这篇文章中，我提出并分析了三个以葡萄牙语为母语的表演者——Sónia Baptista、Maria Duarte和Andrea Maciel——所进行的TAE过程，他们分别探索和扩展了“表演”、“存在”和“发挥”这三个术语。从每个表演者的文化和审美体验的感觉来考虑这些术语，为建立一个协作和情感体现的词汇开辟了新的领域，可以阐明对戏剧实践和表演研究的一些核心概念的不同方法或研究路线。基于这三个案例，我认为TAE是一种获得现场表演感觉的刺激工具，从而有助于从有意义的个人角度研究情感的发展。
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