It was February 2022 and I was standing in a crowd in the lobby of St. Ann’s Warehouse watching an elegant performance unfold: a three-dimensional, 20-inch-tall, faceless figure, manipulated by the hands of three people, walked silently across a suspended tabletop while interacting obliquely with a picture frame, also suspended in mid-air. From behind me, I heard a voice quietly exclaim, “That’s not what you think of when you hear puppetry.” Indeed, I thought, the legs and flats of the feet were being manipulated from the hips with some sort of interior mechanism. Typically, the foot puppeteer holds them near the ankles. But I don’t think that’s what my fellow spectator had in mind.
{"title":"Seeing Puppetry: Winter Report from New York City","authors":"Kate Brehm","doi":"10.1162/pajj_a_00638","DOIUrl":"https://doi.org/10.1162/pajj_a_00638","url":null,"abstract":"It was February 2022 and I was standing in a crowd in the lobby of St. Ann’s Warehouse watching an elegant performance unfold: a three-dimensional, 20-inch-tall, faceless figure, manipulated by the hands of three people, walked silently across a suspended tabletop while interacting obliquely with a picture frame, also suspended in mid-air. From behind me, I heard a voice quietly exclaim, “That’s not what you think of when you hear puppetry.” Indeed, I thought, the legs and flats of the feet were being manipulated from the hips with some sort of interior mechanism. Typically, the foot puppeteer holds them near the ankles. But I don’t think that’s what my fellow spectator had in mind.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"36 1","pages":"22-33"},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85362012","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":"From Landscapes to Projection Drama","authors":"Antoine Wagner, Philip Cluff","doi":"10.1162/pajj_a_00644","DOIUrl":"https://doi.org/10.1162/pajj_a_00644","url":null,"abstract":"","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"99 1","pages":"76-80"},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73812677","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":"From the Toes Up","authors":"Paul Bedard","doi":"10.1162/pajj_a_00641","DOIUrl":"https://doi.org/10.1162/pajj_a_00641","url":null,"abstract":"","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"34 3 1","pages":"52-55"},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72932381","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}
At the opening of La Machine infernale [The Infernal Machine], Jean Cocteau’s 1934 retelling of the Oedipus myth, a voice labels the imminent drama as a “fully wound machine,” whose spring will slowly unwind during its performance. The play’s tragic set-up, we are told, “is one of the most perfect machines devised by the infernal gods for the mathematical annihilation of a mortal.”1 In comparing his tragic dramaturgy to a technical apparatus designed to wreck those embroiled in it, Cocteau—the preeminent multi-hyphenate artist of twentiethcentury France—also looks back on his previous play, La Voix humaine [The Human Voice]. First staged in 1930 at the Comédie-Française, this earlier work has as its keystone the device of the manual telephone, complete with its many idiosyncrasies. As Cocteau’s unnamed female protagonist, on a farewell call with the lover who has left her, finds herself nearing the “annihilation” of a relationship, her anxious resort to the telephone mirrors the play’s witting reliance on that same machine’s theatrical potential.
{"title":"Ivo van Hove and Almodóvar: Remixing The Human Voice","authors":"M. Dilek","doi":"10.1162/pajj_a_00636","DOIUrl":"https://doi.org/10.1162/pajj_a_00636","url":null,"abstract":"At the opening of La Machine infernale [The Infernal Machine], Jean Cocteau’s 1934 retelling of the Oedipus myth, a voice labels the imminent drama as a “fully wound machine,” whose spring will slowly unwind during its performance. The play’s tragic set-up, we are told, “is one of the most perfect machines devised by the infernal gods for the mathematical annihilation of a mortal.”1 In comparing his tragic dramaturgy to a technical apparatus designed to wreck those embroiled in it, Cocteau—the preeminent multi-hyphenate artist of twentiethcentury France—also looks back on his previous play, La Voix humaine [The Human Voice]. First staged in 1930 at the Comédie-Française, this earlier work has as its keystone the device of the manual telephone, complete with its many idiosyncrasies. As Cocteau’s unnamed female protagonist, on a farewell call with the lover who has left her, finds herself nearing the “annihilation” of a relationship, her anxious resort to the telephone mirrors the play’s witting reliance on that same machine’s theatrical potential.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"C-32 1","pages":"1-8"},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84446256","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}
The Bread and Puppet Theater was founded in 1963, and in 2022, is one year away from its sixtieth anniversary, making it one of the oldest theatre companies in the United States. Its founder and director, Peter Schumann— now eighty-seven—discovered an inspiring and flourishing performance world in early 1960s New York, where his dreams of a masked dance theatre troupe became a reality in downtown Manhattan. The rise of ensemble theatre companies like the Living Theatre, the Open Theater, and the Performance Group, alongside the interdisciplinary world of Happenings, dance, and music centered around Judson Church, created a fertile and supportive environment in which Schumann found like-minded and willing collaborators to realize his visions of ritualist dance theatre with puppets and objects. The influence of visionary artist Richard Tyler (founder of the Uranian Phalanstery in a disused Hungarian synagogue on East 4th Street), and activist novelist Grace Paley led Schumann away from loft performances and art-world happenings, and onto the streets and sidewalks of New York where Schumann could present crankie scroll performances and create giant puppet happenings as part of parades organized by the burgeoning anti-Vietnam War movement.
{"title":"Something Beautiful and Powerful: Politics, Art, and Bread and Puppet Theater","authors":"John Bell","doi":"10.1162/pajj_a_00639","DOIUrl":"https://doi.org/10.1162/pajj_a_00639","url":null,"abstract":"The Bread and Puppet Theater was founded in 1963, and in 2022, is one year away from its sixtieth anniversary, making it one of the oldest theatre companies in the United States. Its founder and director, Peter Schumann— now eighty-seven—discovered an inspiring and flourishing performance world in early 1960s New York, where his dreams of a masked dance theatre troupe became a reality in downtown Manhattan. The rise of ensemble theatre companies like the Living Theatre, the Open Theater, and the Performance Group, alongside the interdisciplinary world of Happenings, dance, and music centered around Judson Church, created a fertile and supportive environment in which Schumann found like-minded and willing collaborators to realize his visions of ritualist dance theatre with puppets and objects. The influence of visionary artist Richard Tyler (founder of the Uranian Phalanstery in a disused Hungarian synagogue on East 4th Street), and activist novelist Grace Paley led Schumann away from loft performances and art-world happenings, and onto the streets and sidewalks of New York where Schumann could present crankie scroll performances and create giant puppet happenings as part of parades organized by the burgeoning anti-Vietnam War movement.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"47 1","pages":"34-47"},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80547705","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":"I’m Free Because I’m a Fugitive—I’m a Fugitive Because I’m Not Free","authors":"D. Wilson, J. Fairfield","doi":"10.1162/pajj_a_00645","DOIUrl":"https://doi.org/10.1162/pajj_a_00645","url":null,"abstract":"","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"197 1","pages":"81-89"},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75297952","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}
Michael van der Aa’s Upload adroitly presents humankind’s inextricable woes as it embraces the spate of technological innovations that humanity might experience in the foreseeable future—if we, the human species, survive the climate emergency and the specter of nuclear annihilation. The opera focuses on the conundrum of uploading one’s consciousness to the computing cloud and the complexities of maintaining a digitized rebirth after death. This transformation lassoes a host of troubling ethical, moral, and psychological controversies into the fray, including the core existential question: “to be or not to be?” Once the main character, the Father, uploads his consciousness to the cloud—does he exist—or not exist?
Michael van der Aa的《上传》巧妙地呈现了人类无法摆脱的困境，因为它拥抱了人类在可预见的未来可能经历的一连串技术创新——如果我们人类物种能够在气候紧急情况和核毁灭的幽灵中幸存下来的话。这部歌剧关注的是将一个人的意识上传到云端的难题，以及在死后维持数字化重生的复杂性。这种转变引发了一系列令人不安的伦理、道德和心理争议，包括存在主义的核心问题:“生存还是毁灭?”一旦主角，父亲，将他的意识上传到云端——他存在——还是不存在?
{"title":"Uploading into Eternity","authors":"E. Pearlman","doi":"10.1162/pajj_a_00649","DOIUrl":"https://doi.org/10.1162/pajj_a_00649","url":null,"abstract":"Michael van der Aa’s Upload adroitly presents humankind’s inextricable woes as it embraces the spate of technological innovations that humanity might experience in the foreseeable future—if we, the human species, survive the climate emergency and the specter of nuclear annihilation. The opera focuses on the conundrum of uploading one’s consciousness to the computing cloud and the complexities of maintaining a digitized rebirth after death. This transformation lassoes a host of troubling ethical, moral, and psychological controversies into the fray, including the core existential question: “to be or not to be?” Once the main character, the Father, uploads his consciousness to the cloud—does he exist—or not exist?","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"35 1","pages":"104-107"},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87596791","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":"Conversation Pit","authors":"Janine DeFeo","doi":"10.1162/pajj_a_00647","DOIUrl":"https://doi.org/10.1162/pajj_a_00647","url":null,"abstract":"","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"38 8","pages":"95-99"},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72371687","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}
The visual artist Jan Sawka (1946–2012) is best known for his painting and printmaking: his works are in the collections of over sixty international museums, including the Museum of Modern Art in New York and the Victoria and Albert Museum in London. The Library of Congress in Washington, D.C. holds a collection of his intaglio prints, the largest by any single artist in the fine print section of the library. While interest in Sawka’s art has remained strong in the years since his death, it seems to have especially grown in the last two years, with solo exhibitions in 2020 at the Samuel Dorsky Museum at the State University of New York–New Paltz and at the Robert and Frances Fullerton Museum of Art at California State University, San Bernardino. In conjunction with these two shows, a number of events have generated a continuing presence online. Some were among the earliest art exhibitions to respond to the Covid shutdown with virtual walkthroughs and an online symposium on the work of Sawka, a video of which can still be viewed on the CSUSB website. In 2021, the Ossolineum National Archival Institute in Wrocław, Poland, organized an exhibition of art from the earliest part of Sawka’s career. Moreover, in 2022, an exhibition at the Wende Museum of the Cold War in Culver City, California, on display from April to October, has featured works by Sawka.
视觉艺术家Jan Sawka(1946-2012)以绘画和版画而闻名，他的作品被60多家国际博物馆收藏，包括纽约现代艺术博物馆和伦敦维多利亚和阿尔伯特博物馆。华盛顿特区的国会图书馆收藏了他的凹版版画，这是图书馆精美版画部分中单个艺术家最大的版画。尽管在他去世后的几年里，人们对Sawka的艺术一直很感兴趣，但在过去的两年里，人们对他的兴趣似乎尤其浓厚，他于2020年在纽约州立大学新帕尔茨分校的塞缪尔·多尔斯基博物馆(Samuel Dorsky Museum)和加州州立大学圣贝纳迪诺分校的罗伯特和弗朗西斯·富勒顿艺术博物馆(Robert and Frances Fullerton Museum of art)举办了个展。与这两个展览相结合的是，许多活动已经在网上产生了持续的存在。其中一些是最早对新冠疫情关闭做出回应的艺术展览之一，其中包括虚拟漫步和关于Sawka作品的在线研讨会，其视频仍可在CSUSB网站上观看。2021年，波兰Wrocław的Ossolineum国家档案研究所组织了一场艺术展览，展出了Sawka职业生涯早期的作品。此外，2022年4月至10月，加州卡尔弗城的文德冷战博物馆(Wende Museum of the Cold War)举办了一场展览，展出了索卡的作品。
{"title":"Jan Sawka: Theatre of Image and Metaphor","authors":"Kathleen M. Cioffi","doi":"10.1162/pajj_a_00643","DOIUrl":"https://doi.org/10.1162/pajj_a_00643","url":null,"abstract":"The visual artist Jan Sawka (1946–2012) is best known for his painting and printmaking: his works are in the collections of over sixty international museums, including the Museum of Modern Art in New York and the Victoria and Albert Museum in London. The Library of Congress in Washington, D.C. holds a collection of his intaglio prints, the largest by any single artist in the fine print section of the library. While interest in Sawka’s art has remained strong in the years since his death, it seems to have especially grown in the last two years, with solo exhibitions in 2020 at the Samuel Dorsky Museum at the State University of New York–New Paltz and at the Robert and Frances Fullerton Museum of Art at California State University, San Bernardino. In conjunction with these two shows, a number of events have generated a continuing presence online. Some were among the earliest art exhibitions to respond to the Covid shutdown with virtual walkthroughs and an online symposium on the work of Sawka, a video of which can still be viewed on the CSUSB website. In 2021, the Ossolineum National Archival Institute in Wrocław, Poland, organized an exhibition of art from the earliest part of Sawka’s career. Moreover, in 2022, an exhibition at the Wende Museum of the Cold War in Culver City, California, on display from April to October, has featured works by Sawka.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"14 1","pages":"64-75"},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75280505","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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