Pub Date : 2024-05-01DOI: 10.1215/01610775-11127570
Yizhou Huang
In this article, Yizhou Huang considers the transnational transmission of devised theater, focusing on the Shanghai-based performance group Grass Stage (Caotaiban) led by Zhao Chuan. She discusses the group’s devising process from two symbiotic aspects, the corporeal and the political. Attending to Grass Stage’s eclectic inspirations and international collaborations, Huang compares the collective to world renowned ensembles such as Théâtre du Soleil and parses out the unequal transactions between Asian performance traditions and devised theater techniques. She warns against a neo-Orientalism that positions non-Western artists and their works solely into an epistemological framework that applauds liberal democracy and argues for devised theater as a site of minor interventions, world making, as well as radical hope.
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Pub Date : 2024-05-01DOI: 10.1215/01610775-11127602
Jonathan P. Eburne, Sara Freeman, Brittney S. Harris, Erica Murphy, James Stanley, Rebecca Struch, Abigail Van Patter
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Pub Date : 2024-05-01DOI: 10.1215/01610775-11127546
Jasmine Mahmoud
Two early twenty-first century ensembles of color in Seattle—and their methods—anchor this article. The first: sis Productions, which started in 2000 as “Sex in Seattle,” an episodic and humorous theatrical series about the romantic relationships of Asian American women. Conceived of by theater artists Kathy Hsieh, Moi, Serin Ngai, and Amy Villarama Waschke, sis developed brainstorming and scripting methods to collectively storytell at Theatre Off Jackson, Annex Theatre, Nippon Kan Theatre, Center House Theatre, Bathhouse Theatre, and Hugo House, and other venues across Seattle. The second: the Black Collectivity Project, a movement-based ensemble led by Nia-Amina Minor, David Rue, marco farroni, and Akoiya Harris, which conducted historical research about the lives and movements of twentieth century Seattle-based Black artists, including dancer Syvilla Fort, and staged their embodied histories via workshops and productions at 12th Avenue Arts, On the Boards, and other Seattle venues. Through an ethnographic and archival approach, Jasmine Mahmoud argues that both ensembles created specific methods to unearth and represent stories in exceptionally unexpected ways that formally emancipated how minoritized people and their histories are portrayed.
本文主要介绍西雅图两个二十一世纪初的有色人种剧团及其表演方式。第一个是姊妹剧团（Sis Productions），始于 2000 年的 "西雅图性爱"（Sex in Seattle），是一个关于亚裔美国女性浪漫关系的幽默剧场系列。由戏剧艺术家 Kathy Hsieh、Moi、Serin Ngai 和 Amy Villarama Waschke 发起，sis 开发了集思广益和剧本创作方法，在杰克逊外剧场、Annex 剧场、Nippon Kan 剧场、Center House 剧场、Bathhouse 剧场和 Hugo House 以及西雅图的其他场所集体讲述故事。第二个项目是 "黑人集体项目"，这是由 Nia-Amina Minor、David Rue、Marco Farroni 和 Akoiya Harris 领导的一个以运动为基础的剧团，该剧团对包括舞蹈家 Syvilla Fort 在内的二十世纪西雅图黑人艺术家的生活和运动进行了历史研究，并在第 12 大道艺术中心、On the Boards 和西雅图其他场所通过工作坊和剧目上演了他们的体现历史。贾斯敏-马哈茂德（Jasmine Mahmoud）通过人种学和档案学的方法，认为这两个剧团创造了特定的方法，以出人意料的方式发掘和表现故事，正式解放了对少数族裔及其历史的描述。
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Pub Date : 2024-05-01DOI: 10.1215/01610775-11127586
Allen J. Kuharski
Allen Kuharski provides a critical summary and expanded framing of the first neh Institute on transmitting and archiving devised physical ensemble theater in American higher education. Kuharski delineates the goals, structure, and planning of the twelve-day gathering of fifty academics, teaching artists, editors, and archivists hosted by him and Quinn Bauriedel of Philadelphia’s Pig Iron Theater Company. The institute’s goal was to provide a platform for longer-term discussions of the historical, theoretical, and critical teaching of devised physical ensemble theater given the proliferation of the teaching of devising practices around the country. Kuharski also places the concerns of the institute within the larger forces challenging contemporary theater, discussing how on the one hand they seem to threaten the historic legacies of such alternative theater practices while on the other these practices may also provide our best future solutions for a vibrant and reformed American live performance practice. The article concludes with an argument for the central role of higher education in the future incubation of an innovative noncommercial American theater.
{"title":"Incubating Incubators","authors":"Allen J. Kuharski","doi":"10.1215/01610775-11127586","DOIUrl":"https://doi.org/10.1215/01610775-11127586","url":null,"abstract":"Allen Kuharski provides a critical summary and expanded framing of the first neh Institute on transmitting and archiving devised physical ensemble theater in American higher education. Kuharski delineates the goals, structure, and planning of the twelve-day gathering of fifty academics, teaching artists, editors, and archivists hosted by him and Quinn Bauriedel of Philadelphia’s Pig Iron Theater Company. The institute’s goal was to provide a platform for longer-term discussions of the historical, theoretical, and critical teaching of devised physical ensemble theater given the proliferation of the teaching of devising practices around the country. Kuharski also places the concerns of the institute within the larger forces challenging contemporary theater, discussing how on the one hand they seem to threaten the historic legacies of such alternative theater practices while on the other these practices may also provide our best future solutions for a vibrant and reformed American live performance practice. The article concludes with an argument for the central role of higher education in the future incubation of an innovative noncommercial American theater.","PeriodicalId":42152,"journal":{"name":"THEATER","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2024-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141135482","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-05-01DOI: 10.1215/01610775-11127562
Deb Margolin
{"title":"The Body Resists the Word","authors":"Deb Margolin","doi":"10.1215/01610775-11127562","DOIUrl":"https://doi.org/10.1215/01610775-11127562","url":null,"abstract":"","PeriodicalId":42152,"journal":{"name":"THEATER","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2024-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141143142","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-05-01DOI: 10.1215/01610775-11127594
Ryan Adelsheim, Rye Gentleman, Michelle Hayford
Devised theater genealogies too often take shape around a set of primarily white, Western “ensemble-based” theater companies and training schools working in modes that emerged in Europe and the United States in the 1960s and 1970s in response to contemporary political circumstances and eventually found acceptance in the high-brow, avant garde cultural milieu. This cowritten, copresented article works to trouble that narrative by taking up the forms of queer and trans cocreated performance associated with underground queer spaces that have been excluded from histories of devised theater (drag, burlesque, ballroom, cabaret, parties, etc.). Using three case studies written in three different voices—the Chicago Kings, Sean Dorsey Dance and Fresh Meat Productions, and The Fly Honey Show—we examine what an alternative genealogy of devising, one that centers queer and trans artists, might look like.
{"title":"Deviant Devising","authors":"Ryan Adelsheim, Rye Gentleman, Michelle Hayford","doi":"10.1215/01610775-11127594","DOIUrl":"https://doi.org/10.1215/01610775-11127594","url":null,"abstract":"Devised theater genealogies too often take shape around a set of primarily white, Western “ensemble-based” theater companies and training schools working in modes that emerged in Europe and the United States in the 1960s and 1970s in response to contemporary political circumstances and eventually found acceptance in the high-brow, avant garde cultural milieu. This cowritten, copresented article works to trouble that narrative by taking up the forms of queer and trans cocreated performance associated with underground queer spaces that have been excluded from histories of devised theater (drag, burlesque, ballroom, cabaret, parties, etc.). Using three case studies written in three different voices—the Chicago Kings, Sean Dorsey Dance and Fresh Meat Productions, and The Fly Honey Show—we examine what an alternative genealogy of devising, one that centers queer and trans artists, might look like.","PeriodicalId":42152,"journal":{"name":"THEATER","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2024-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141131258","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-05-01DOI: 10.1215/01610775-11127578
Quinn Bauriedel
The June 2023 neh Institute—“Preserving and Transmitting American Ensemble-Based Theatre”—aimed to understand the work of the many ensembles who have made work within the United States. Each ensemble has a unique story but the Romanian phrase that an ensemble has “the life of a dog” struck a nerve, positing that ensembles come and go. Maybe so, but this essay suggests that though their candle may burn out, the light they produce lives on. In an era of tremendous uncertainty and extremes of teenage sadness, ensemble theatre as a practice can, and has, galvanized a new generation to take control of the narrative and to make work that speaks directly to the current moment. As seductive as the story is of artists emerging out of necessity during particularly tumultuous times, it helps the next generation know that their work will leave a mark and that meaning within performance is how culture is created.
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