The plays focus on youth (too little experience) and old age (too much experience: questions of forgiveness, integrity of memory, store of energy). They spring from my experiences engaging with those affected by economic warfare, addiction, and genocidal violence, nationally and internationally. The writing pairs with a long-time searching-through of contemplative pedagogy: the uses of silence, witness, gratitude and patience in the creative process. The setting is global and contemporary, in passion with the friable nature of social systems challenged by the manufacture of exiles and refugees, by totalitarian persecutions, and by erosions in a baseline of trust.
{"title":"Swallow: (First Corinthians)","authors":"E. Ehn","doi":"10.1162/pajj_a_00670","DOIUrl":"https://doi.org/10.1162/pajj_a_00670","url":null,"abstract":"The plays focus on youth (too little experience) and old age (too much experience: questions of forgiveness, integrity of memory, store of energy). They spring from my experiences engaging with those affected by economic warfare, addiction, and genocidal violence, nationally and internationally. The writing pairs with a long-time searching-through of contemplative pedagogy: the uses of silence, witness, gratitude and patience in the creative process. The setting is global and contemporary, in passion with the friable nature of social systems challenged by the manufacture of exiles and refugees, by totalitarian persecutions, and by erosions in a baseline of trust.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"59 1","pages":"121-133"},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73812996","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}
{"title":"The Spirit of the Times","authors":"Bonnie Marranca","doi":"10.1162/pajj_e_00655","DOIUrl":"https://doi.org/10.1162/pajj_e_00655","url":null,"abstract":"","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"45 1","pages":"11-14"},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85239857","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}
{"title":"Notes from My Journals","authors":"J. Jonas","doi":"10.1162/pajj_a_00669","DOIUrl":"https://doi.org/10.1162/pajj_a_00669","url":null,"abstract":"","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"1 1","pages":"118-120"},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75991622","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}
A spiritual journey may require proper preparation and a particular mindset, for example, a belief in transcendence or reincarnation. Or in the first place, a belief in a path for survival, a method of illumination, thus a performative challenge facing the pathfinder. What if there is no more spiritual recovery, with all the maladies lingering on in the killing fields and contaminated, damaged environments? Some time ago, when I was preparing a theatre piece for a Houston gallery, I remember stopping on the road to take a closer look at a creature that had been run over. I never would have done so, but a photographer friend had alerted me to a series of portraits he had made of roadkill. We decided to use enlarged projections of these images in the performance. It did occur to me that unlike in previous ages, death is largely taboo in Western culture, and dead humans, just as smashed or condemned carcasses of animals, are largely hidden, removed from view.
{"title":"Very Very Important Salvation","authors":"J. Birringer","doi":"10.1162/pajj_a_00673","DOIUrl":"https://doi.org/10.1162/pajj_a_00673","url":null,"abstract":"A spiritual journey may require proper preparation and a particular mindset, for example, a belief in transcendence or reincarnation. Or in the first place, a belief in a path for survival, a method of illumination, thus a performative challenge facing the pathfinder. What if there is no more spiritual recovery, with all the maladies lingering on in the killing fields and contaminated, damaged environments? Some time ago, when I was preparing a theatre piece for a Houston gallery, I remember stopping on the road to take a closer look at a creature that had been run over. I never would have done so, but a photographer friend had alerted me to a series of portraits he had made of roadkill. We decided to use enlarged projections of these images in the performance. It did occur to me that unlike in previous ages, death is largely taboo in Western culture, and dead humans, just as smashed or condemned carcasses of animals, are largely hidden, removed from view.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"210 1","pages":"147-151"},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80633242","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}
Often heralded as one of the most important and influential artists of the twentieth century, Mark Rothko would not live to celebrate the 1971 opening of the chapel in Houston bearing his name. Rothko’s death by suicide in 1970 at the age of sixty-six sent shockwaves through an art world that he and his co-conspirators, in what became known as The New York School, had helped fundamentally to transform through their experimentations with abstract expressionism. Though he flirted with social realist aesthetics early in his career, Rothko became enamored by surrealism’s explorations of the power and possibilities of the unconscious mind, especially for artmaking. Attendant concerns about faith, myth, and spirituality led him to develop a practice that would ultimately yield hundreds of iconic works that have become celebrated for the “atmosphere of piety and wonder” they tend to arouse.1 “So seductive is the quality of Rothko’s color, and so complete is its hold on our attention, that we experience its later descent into the shadows as a very emphatic and concrete emotion,” New York Times art critic Hilton Kramer wrote in his review of the Guggenheim Museum’s landmark 1978 exhibition, Mark Rothko, 1903–1970: A Retrospective, curated by Diane Waldman.2 In addition to a nuanced engagement with color, Rothko’s work is distinguished by its idiosyncratic play with shape, scale, and light. His color-field paintings, in particular, have become venerated for their uncanny capacity to elicit a surprising range of affective responses.
马克·罗斯科(Mark Rothko)经常被誉为20世纪最重要、最有影响力的艺术家之一，但他无法活着庆祝1971年以他的名字命名的休斯顿教堂的开幕。罗斯科于1970年自杀身亡，享年66岁，这在艺术界掀起了一股冲击波。他和他的同伙——后来被称为“纽约画派”(the New York School)——通过对抽象表现主义的实验，从根本上改变了艺术界。虽然罗斯科在职业生涯早期曾与社会现实主义美学有过接触，但他开始迷恋超现实主义对无意识思维的力量和可能性的探索，尤其是在艺术创作方面。随之而来的对信仰、神话和灵性的关注使他发展了一种实践，最终产生了数百件标志性作品，这些作品因它们往往引起的“虔诚和惊奇的氛围”而闻名《纽约时报》艺术评论家希尔顿·克雷默(Hilton Kramer)在评论1978年古根海姆博物馆(Guggenheim Museum)里程碑式的展览《马克·罗斯科(Mark Rothko, 1903-1970)》时写道:“罗斯科的色彩质量如此诱人，它对我们的注意力的控制如此彻底，以至于我们后来把它变成了一种非常强烈而具体的情感。”除了对色彩的细致入微，罗斯科的作品还以其对形状、规模和光线的独特运用而著称。特别是他的色彩绘画，因为其不可思议的能力而受到尊敬，引发了一系列令人惊讶的情感反应。
{"title":"Spirit in the (Monochromatic) Light","authors":"I. Wooden","doi":"10.1162/pajj_a_00658","DOIUrl":"https://doi.org/10.1162/pajj_a_00658","url":null,"abstract":"Often heralded as one of the most important and influential artists of the twentieth century, Mark Rothko would not live to celebrate the 1971 opening of the chapel in Houston bearing his name. Rothko’s death by suicide in 1970 at the age of sixty-six sent shockwaves through an art world that he and his co-conspirators, in what became known as The New York School, had helped fundamentally to transform through their experimentations with abstract expressionism. Though he flirted with social realist aesthetics early in his career, Rothko became enamored by surrealism’s explorations of the power and possibilities of the unconscious mind, especially for artmaking. Attendant concerns about faith, myth, and spirituality led him to develop a practice that would ultimately yield hundreds of iconic works that have become celebrated for the “atmosphere of piety and wonder” they tend to arouse.1 “So seductive is the quality of Rothko’s color, and so complete is its hold on our attention, that we experience its later descent into the shadows as a very emphatic and concrete emotion,” New York Times art critic Hilton Kramer wrote in his review of the Guggenheim Museum’s landmark 1978 exhibition, Mark Rothko, 1903–1970: A Retrospective, curated by Diane Waldman.2 In addition to a nuanced engagement with color, Rothko’s work is distinguished by its idiosyncratic play with shape, scale, and light. His color-field paintings, in particular, have become venerated for their uncanny capacity to elicit a surprising range of affective responses.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"31 1","pages":"27-33"},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75234351","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}
{"title":"Virus as Metaphor in the Age of Catastrophe","authors":"J. Apple","doi":"10.1162/pajj_a_00648","DOIUrl":"https://doi.org/10.1162/pajj_a_00648","url":null,"abstract":"","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"45 1","pages":"100-103"},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88428342","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}
{"title":"Little Amal’s New York Journey: The Big Puppet in the Big Apple","authors":"Claudia Orenstein","doi":"10.1162/pajj_a_00637","DOIUrl":"https://doi.org/10.1162/pajj_a_00637","url":null,"abstract":"","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"1 1","pages":"12-21"},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78332799","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}
{"title":"A Meditation on Loss","authors":"S. Strauss","doi":"10.1162/pajj_a_00640","DOIUrl":"https://doi.org/10.1162/pajj_a_00640","url":null,"abstract":"","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"84 1","pages":"48-51"},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83868397","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}
Alain Badiou, in “Rhapsody for the Theatre” (1990), divided the world into societies that have theatre and those that do not. Those in the former group, he observed, “know this strange public place, where fiction is consumed as a repeatable event.”1 Badiou, in his essay, places fairly rigid limits on what constitutes theatre, but I think we can allow these “strange places” to encompass all kinds of live performance, both visual and auditory. All live performance must occur somewhere: there must be a performance venue, and these venues are, indeed, strange places. They exist within a society, yet separate from it, temporarily isolating a fragment of the population to watch or listen to a specifically created work of art. The venues— theatres, opera houses, concert halls, and the like—have a particular appeal for historians. Performance, by definition ephemeral and semiotically complex, is notoriously difficult to document and describe; but theatre architecture is tangible. Even when incomplete, as in the ruins of ancient Greek and Roman theatres, or the foundations of the Rose Theatre in London, these structures can be touched, measured, photographed, and x-rayed, thus lending themselves to academic study and analysis.
{"title":"Architecture Against Theatre","authors":"A. Aronson","doi":"10.1162/pajj_r_00650","DOIUrl":"https://doi.org/10.1162/pajj_r_00650","url":null,"abstract":"Alain Badiou, in “Rhapsody for the Theatre” (1990), divided the world into societies that have theatre and those that do not. Those in the former group, he observed, “know this strange public place, where fiction is consumed as a repeatable event.”1 Badiou, in his essay, places fairly rigid limits on what constitutes theatre, but I think we can allow these “strange places” to encompass all kinds of live performance, both visual and auditory. All live performance must occur somewhere: there must be a performance venue, and these venues are, indeed, strange places. They exist within a society, yet separate from it, temporarily isolating a fragment of the population to watch or listen to a specifically created work of art. The venues— theatres, opera houses, concert halls, and the like—have a particular appeal for historians. Performance, by definition ephemeral and semiotically complex, is notoriously difficult to document and describe; but theatre architecture is tangible. Even when incomplete, as in the ruins of ancient Greek and Roman theatres, or the foundations of the Rose Theatre in London, these structures can be touched, measured, photographed, and x-rayed, thus lending themselves to academic study and analysis.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"115 26 1","pages":"108-112"},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84216380","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}
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