Studies in Theatre and Performance最新文献

ABSTRACT

Vocal expression beyond words, such as the excess of speech production found in coughs, rhythm, intonation, humming, offer a mode of being that does not require the endorsement of the world through language, but rather favours the act of dwelling in sonority. I make use of creative and critical writing to evidence how my body listens in the auditorium. I consider Ant Hampton and Britt Hatzius’ This is Not My Voice Speaking (2011) and Nature Theater of Oklahoma’s Life and Times – Episodes 3 & 4 (2012). The decision to discuss these two pieces arises from an interest in how each makes use (albeit differently) of audio-based instructions and sounds outside of linguistic units. I focus on the respective deployment of disrupted rhythms and altered intonation of spoken language to question how performance and performative writing, might reveal and in turn cultivate our attention towards what is beyond the surface of our dialogical exchanges and vocal interactions. I put forward the idea of dwelling in sonority to extend the moment of perceptive encounter and endorse engagement with more elusive aspects of being.

ABSTRACT

In response to the Sewol Ferry disaster and mishandling of the South Korean government, Korean activists and artists mobilized collaboration with the victims’ families to produce activist theatre productions that center not only the trauma of those most affected by the disaster but also their lived experiences and wishes, especially those of the mothers. Furthermore, the performance community has come to include and represent the mothers not only as victims but as active participants whose grief is transmuted through performance into political activism. Combining tools of active viewing and participant observation, this article examines three of these works—Talking about Her (2016a) and VEGA (Jaguar 2016), which are performance pieces adapted from testimonies by the mothers, and Yellow Ribbon’s first performance, His and Her Closet (2016b). This article focuses on the ways these works, through utilizing the memories and testimonies of the mothers, have come to constitute a kind of collaborative public counter-memory against state cover-ups and unempathetic accounts, centering demands for change in commemoration practices and transforming the meaning of Sewol into a catalyst for political and social change.

ABSTRACT

Elder reflects - in three parts - on family and friendship, noting references and past/present connections to art, music, Mardi Gras, and sites of cultural heritage.

ABSTRACT

‘Summer Cannibals’ is a work of fiction, interspersed and illustrated with Izdihar Afyouni‘s paintings. It narrates an account of grief, rage, and violence.

ABSTRACT

This editorial elaborates on the processes and practices of Open Call and its iteration as a print and online issue of Studies in Theatre and Performance. It offers a collaborative framing of the issue that includes the voices of its editors and peer reviewers, and suggests some possible pathways through the texts and artworks that comprise this special issue, which is titled open-call+response:

ABSTRACT

This is a collaborative trans-atlantic meandering around our respective research fields, interjected with archival traces of our performances. Alongside us are The GUIDE, and #Sergina. The GUIDE is a survival praxis of how the Black identity performs in anticipation of being trapped in the gaze of being processed as other; a pedagogical deployment of research and critical theory from Black studies, Post-Colonial studies, and Black Feminist studies. #Sergina is a multi-bodied multi-locational drag queen who sings songs about love, lust, and loneliness in the digital age, alone and with others, performing on readymade platforms of Google Hangout, Skype, Zoom, Instagram and so on. What follows is a trans -racial -temporal -geographical edit of our side by side evaluation of where we are - or not.

We are calling this our Mixtape/ Shuffle Play.

ABSTRACT

This offering is part 3 of 3 in Lou Sarabadzic’s series Making Sense, which re-visits the exploration of the physicality and materiality of language in her video work Traces (2021).