Pub Date : 2021-01-25DOI: 10.1080/14682761.2021.1874106
Y. J. Hwang
ABSTRACT In this article I propose two concepts – a borderline society and ‘rebellious mourning’ – to present a conceptual framework for understanding contemporary Korean feminism. This article argues that borderline society is both a concept and a product of co-existing and contesting ways of Korean women’s speaking against the culture of gender-based violence to consider the (imagined) topography for their co-existence as one that requires the psychic conception of reality as a counterpart to the patriarchy. Given that the 2016 femicide accelerated the movement of Korean women speaking about their experiences as an act of mourning, borderline society provides an understanding of how Korean women perform it. Drawing on contemporary news clippings and websites related to Korean feminist activism, this article examines how ‘rebellious mourning’ is embodied through the cultural practices of Korean activist groups. While Womad stands in opposition to #MeToo because of its negation of the patriarchy, Flame, Femi, Action is situated as a point of contact between the two. This article will thus provide a new understanding of the particularity of Korean feminism based on the link between the psyche and gender subjectivity of women speaking up, thereby placing a specific local situation into the broader context of constructing activism.
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Pub Date : 2021-01-03DOI: 10.1080/14682761.2020.1862998
K. Gallagher, C. Balt, Lindsay Valve
ABSTRACT This article considers the theatre as a vital site for the formation of an ‘intergenerational polis’ through its examination of the verbatim play, Towards Youth: A play on radical hope, by Andrew Kushnir. Performed in Toronto from February to March, 2019, at Crow’s Theatre, Towards Youth attracted a uniquely intergenerational audience. Our audience research on this production, consisting of post-performance interviews, conducted in the lobby of Crow’s Theatre, gave rise to difficult dialogues between generations, particularly regarding questions of ‘intergenerational injustice’ at these times of economic, environmental, and socio-political precarity. We examine how discomfort,witnessing and vulnerability manifested in these audience interviews and in the development of a tentative and temporary ‘intergenerational polis’ in the theatre. We look to how the affective labour performed by the audience in these interviews sought to establish an ‘ethics of care’ between some younger and older audience members, as a practice of hope in uncertain times. This research gestures towards the importance of attuning to ‘dissensus’ in audience research towards the cultivation of a critical and civically-engaged spectatorship.
{"title":"Vulnerability, care and hope in audience research: theatre as a site of struggle for an intergenerational politics","authors":"K. Gallagher, C. Balt, Lindsay Valve","doi":"10.1080/14682761.2020.1862998","DOIUrl":"https://doi.org/10.1080/14682761.2020.1862998","url":null,"abstract":"ABSTRACT This article considers the theatre as a vital site for the formation of an ‘intergenerational polis’ through its examination of the verbatim play, Towards Youth: A play on radical hope, by Andrew Kushnir. Performed in Toronto from February to March, 2019, at Crow’s Theatre, Towards Youth attracted a uniquely intergenerational audience. Our audience research on this production, consisting of post-performance interviews, conducted in the lobby of Crow’s Theatre, gave rise to difficult dialogues between generations, particularly regarding questions of ‘intergenerational injustice’ at these times of economic, environmental, and socio-political precarity. We examine how discomfort,witnessing and vulnerability manifested in these audience interviews and in the development of a tentative and temporary ‘intergenerational polis’ in the theatre. We look to how the affective labour performed by the audience in these interviews sought to establish an ‘ethics of care’ between some younger and older audience members, as a practice of hope in uncertain times. This research gestures towards the importance of attuning to ‘dissensus’ in audience research towards the cultivation of a critical and civically-engaged spectatorship.","PeriodicalId":42067,"journal":{"name":"Studies in Theatre and Performance","volume":"25 1","pages":"35 - 53"},"PeriodicalIF":0.3,"publicationDate":"2021-01-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82676884","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/14682761.2021.1881730
Swati Arora
ABSTRACT With the climate of Brexit, xenophobia and white supremacy on the rise, health and safety of Black and Global Majority people under threat during the spread of Covid in the UK and elsewhere, a discussion of colonialism, migration, borders, and equality – in the classrooms and outside – is more pertinent than ever. Situating the ongoing Decolonise the University movement as part of broader social justice struggles to address the political, social, and economic crises we find ourselves in today, I propose a few ways of decentering Theatre and Performance Studies in the form of a manifesto. What follows is a meditation on precarity, critical pedagogy, Black study, feminist survival, ethical research praxis, and the violence of caste, colourism, and racialisations.
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Pub Date : 2021-01-02DOI: 10.1080/14682761.2021.1889238
N. Cheng
ABSTRACT In 2004, Performance Studies came to Singapore for a brief visit, and, by some accounts, it was a fraught encounter. That year, a Performance Studies international (PSi) conference, PSi #10, was hosted in Singapore, the first time this association gathered in ‘Asia’. In this essay, I use this conference as a starting point to tease out the intersections between my discipline and my home country, and the anxieties and potentialities that arise from bringing the two in the same space with someone like me as an interlocutor. In doing so, I critically raise the question: what does it mean to ‘perform’ Performance Studies in a place such as Singapore, a (post-)colonial, soft- authoritarian state?
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Pub Date : 2021-01-02DOI: 10.1080/14682761.2021.1885961
P. de Senna, Lucia Gayotto, M. Meirelles
ABSTRACT This paper presents a conversation between Lucia Gayotto and Marcio Meirelles curated by Pedro de Senna. In it, Gayotto and Meirelles discuss their experiences, respectively, at the Escola Livre de Teatro de Santo André and the Universidade Livre do Teatro Vila Velha, both theatre schools operating at the margins of the official Brazilian educational establishment and making use of overtly Freirean pedagogical models.
本文介绍了由佩德罗·德·塞纳策划的露西娅·加亚托与马尔乔·梅雷莱斯的一次对话。在书中，Gayotto和Meirelles分别讨论了他们在Escola Livre de Teatro de Santo andraires和Universidade Livre do Teatro Vila Velha的经历，这两所戏剧学校都处于巴西官方教育机构的边缘，并利用了明显的自由主义教学模式。
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Pub Date : 2021-01-02DOI: 10.1080/14682761.2021.1889936
Julia A. Walker
ABSTRACT Most histories of psychological-realist acting identify the mid-twentieth-century style with Lee Strasberg’s eponymous ‘Method,’ tracing its genealogy back to the work of Russian director Konstantin Stanislavsky and his Moscow Art Theatre protégés. The style’s most iconic practitioner—Marlon Brando—was more circumspect, however, rarely crediting Strasberg for his acting credentials. Taking Brando as a case study, I demonstrate other influences also at work. Tracing his ‘cool’ style of performance to the expanded movement vocabulary of choreographer Katherine Dunham and the intersubjective audience engagement of jazz saxophonist Lester Young, I demonstrate how Brando’s method of psychological-realist acting is rooted in Afro-Aesthetics and was practiced as an anti-racist form of self-imaging.
大多数关于心理现实主义表演的历史都将20世纪中期的风格与李·斯特拉斯伯格(Lee Strasberg)的同名作品《方法》(Method)联系起来，并将其谱系追溯到俄罗斯导演康斯坦丁·斯坦尼斯拉夫斯基(Konstantin Stanislavsky)和他的莫斯科艺术剧院(Moscow Art Theatre)的作品。然而，这种风格最具代表性的实践者——马龙·白兰度——则更为谨慎，他很少把自己的演技归功于斯特拉斯伯格。以白兰度为例，我展示了在工作中其他的影响。将他的“酷”表演风格追溯到编舞家凯瑟琳·邓纳姆(Katherine Dunham)的扩展运动词汇和爵士萨克斯演奏家莱斯特·杨(Lester Young)的主体间观众参与，我展示了白兰度的心理现实主义表演方法如何根植于非洲美学，并被实践为一种反种族主义的自我想象形式。
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Pub Date : 2021-01-02DOI: 10.1080/14682761.2021.1881271
Marilena Zaroulia, Glenn A. Odom
When, in September 2018, Tom Cornford, Glenn Odom and Marilena Zaroulia joined the editorial team of Studies in Theatre and Performance as new Associate editors, we were presented with the task that all incoming editors had to complete within the first two years of their tenure: to collaboratively curate a special issue that would offer a ‘snapshot’ of the field of theatre and performance studies at the end of the second decade of the twenty-first century. Even though the three of us had very different research trajectories and expertise, we agreed that this issue was not going to be driven by particular research agendas but by our shared commitment to the important, unfolding debate of decentring the field of theatre and performance studies, a debate that followed global calls for ‘decolonizing the university’. This editorial tells the story of the issue from call for papers to the finished works that the reader is about to encounter. When we started working on this issue, we felt that there was a momentum building up that necessitated an issue that centred the processes of decentring across diverse contexts and methodologies. As we are finalizing the editorial in the last days of 2020, a watershed year for what the COVID-19 pandemic began to unleash, severely impacting the most vulnerable bodies and communities, wefeel how imperative it is for everyone to contribute to this task of decentring. We are acutely aware of how any inherent limitations of any one approach to this task as the principle of decentring applies to voices, subjects of study and methodologies equally.
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Pub Date : 2021-01-02DOI: 10.1080/14682761.2021.1885166
Lizhen Chen
ABSTRACT This article focuses on the revolutionary power exerted on Chinese modern drama by Li Shutong (Master Hongyi, 1880–1942), the highly respected pioneer of modern drama and art in China. His work with the drama club Spring Willow Society revealed Li Shutong’s effort to employ the formulae and formalities in Chinese drama to challenge western canonical power and established structures. Taking western drama as a tool to reform Chinese drama, he made use of Chinese and Japanese aesthetics to negotiate western theory in his political agenda of anticolonialism. Li Shutong’s adaptation of La Dame aux Camélias, The Black Slave’s Cry to Heaven (Uncle Tom’s Cabin) and other western canonical works on the stage was an aesthetical activity as well as a political move to fight against the mainstream theatrical conventions in China. Meanwhile, he succeeded in providing an alternative to undermine western hegemonic power by his fusion of oriental elements into the western canons.
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Pub Date : 2021-01-02DOI: 10.1080/14682761.2021.1888565
R. Polonyi
ABSTRACT The field of social theatre is founded in community-engaged creative processes. It is inherently political, embedded in its geopolitical and social environment. Yet existing methods of documentation – the distribution and gathering of data and its output - do not always reflect this tradition. Methods related to documentation raise various concerns around consistent ways to gain and share knowledge if the meanings that we cultivate are not approached as an active, non-hierarchised exchange with and among communities, activists and practitioners we serve. In general form, these concerns are: a) What are the implications of needing to document social theatre; and b) What becomes of this knowledge? These two questions are demonstrated within the case of documentation in the occupied Palestinian territories. In a region containing the most documented and recorded conflict in the world (Debray 2007), academic research serves arguably to impose structure on a given phenomenon. Yet ‘imposing’ structure – or what one considers as such – raises additional concerns of perpetuating dynamics of colonial occupation amidst a population that is increasingly denied self-representation. Using this example, I argue that the future of our field risks data fossilising if it does not retain creative flexibility in crossing disciplines, in protecting grassroots and practice-based forms of knowledge cultivation, and in taking risks in permitting inquiries to test our scholarly expertise. This piece argues for an epistemological shift in our knowledge production – both its collection and distribution.
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Pub Date : 2021-01-02DOI: 10.1080/14682761.2021.1881732
Kyoko Iwaki
ABSTRACT In 2014, I founded Scene/Asia, a platform of critique and dialogue for Asian contemporary performances. The main objective of the project was to extract performance tropes and concepts cultivated on the Asian soil; we tried to build a pool of knowledge that uses ‘Asian theatre [and not Western theatre] as method’, to cite Rossella Ferrari, who, in turn, borrowed from Kuan Hsing-Chen. Taking this three-year project as an empirical basis, this paper argues, in a hybrid language consisting of fieldwork reports, discussion outcomes, curatorial procedures and scholarly analysis, that the three pillars of Western canonisation in theatre – institutionalisation, historicisation and the ensuing commodification – may be ‘useful’ to the West, but a priori contradict the raison d’être of traditional Asian performances. The paper demonstrates this by referring to traditional Asian pop-up theatres and a text by Japanese ethnologist Orikuchi Shinobu, who argues that Japanese entertainers were originally ukare-bito (drifting people). Finally, this paper demonstrates an analysis of Malaysian theatre director Mark Teh’s Version 2020: The Complete Future of Malaysia (2017) as a contemporary Asian theatre piece that brings into relief ‘Asian theatre as method’ by adopting what Teh calls the ‘dispersive dramaturgy’.
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