Over the past few years, Anton Chekhov’s plays have been adapted to reflect present concerns in numerous productions. Dmitry Krymov’s direction of The Cherry Orchard for the Wilma Theater in Philadelphia in 2022 used a giant train board to supply some of the text as the characters fell away, EgoPo’s production of Reza de Wet’s Three Sisters Two in 2019 moved the action to the 1920s and used expansive gender re-casting, and even Aaron Posner’s Stupid Fucking Bird at the Pearl in New York in 2016 updated The Seagull by making it a metatheatrical commentary on being a contemporary artist. These and others all reveal that the American theatre scene is still finding relevant and resonant source material in Chekhov’s tales of unhappy Russians stuck in between the lives their parents and grandparents lived and their own desires. It is no surprise that the playwright, famous for writing stories about waiting and dissatisfaction, has popped into the collective psyche as past and present quarantines have taught us new lessons about who we become when we are stuck in collective limbo. These are the circumstances that conditioned Elevator Repair Service’s take on their production of Seagull at NYU’s large Skirball Center.
{"title":"Chekhov’s Gull","authors":"B. Rowen","doi":"10.1162/pajj_a_00646","DOIUrl":"https://doi.org/10.1162/pajj_a_00646","url":null,"abstract":"Over the past few years, Anton Chekhov’s plays have been adapted to reflect present concerns in numerous productions. Dmitry Krymov’s direction of The Cherry Orchard for the Wilma Theater in Philadelphia in 2022 used a giant train board to supply some of the text as the characters fell away, EgoPo’s production of Reza de Wet’s Three Sisters Two in 2019 moved the action to the 1920s and used expansive gender re-casting, and even Aaron Posner’s Stupid Fucking Bird at the Pearl in New York in 2016 updated The Seagull by making it a metatheatrical commentary on being a contemporary artist. These and others all reveal that the American theatre scene is still finding relevant and resonant source material in Chekhov’s tales of unhappy Russians stuck in between the lives their parents and grandparents lived and their own desires. It is no surprise that the playwright, famous for writing stories about waiting and dissatisfaction, has popped into the collective psyche as past and present quarantines have taught us new lessons about who we become when we are stuck in collective limbo. These are the circumstances that conditioned Elevator Repair Service’s take on their production of Seagull at NYU’s large Skirball Center.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"8 1","pages":"91-94"},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80784497","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 Plastic Bag Store (Excerpt)","authors":"Robin Frohardt","doi":"10.1162/pajj_a_00642","DOIUrl":"https://doi.org/10.1162/pajj_a_00642","url":null,"abstract":"","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"42 1","pages":"56-63"},"PeriodicalIF":0.3,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79324500","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}
he global Covid pandemic with its covert, rapidly spreading pathogenicity of mutating variants, along with the hegemonic epidemic of computer hack-ing and the crisis of worldwide refugee diasporas, provoke urgent questions about a range of transmission enigmas. Long before history and technology, art ini-tiated the transmission circuit. Prehistoric caves housed vividly painted images of wild animals that continue to enthrall and mystify thirty-five centuries later. In radical contrast, technophilia , the compulsively seductive allure of our hyperactive media, continues to become increasingly endemic. Powerful synaptic algorithms incessant-ly propagate synergetic labyrinths of instant information transferences whose interconnectivity and obsessive fission sustain the world while threatening its survival. Ancient cave paintings, like at Chauvet and Altmira, which colorful eidetic of dirt, red ochre, blood, and and bones, undoubtedly served the magical subduing and controlling nature’s treacher-ous chthonic forces. Visual and oneiric, those paintings bridged dreams, imagi-nation, and futurity—anticipating and history. The enigma of how were produced—in deep, hidden, pitch-black recesses or high inaccessible cavern ceilings—remains a mystery. Those proto-artists’ prehensile dexterity catalyzed the frontal lobes of the brain crucial for the development of language.
{"title":"Transmission Mysteries: Art and Technophilia","authors":"Kenneth King","doi":"10.1162/pajj_a_00627","DOIUrl":"https://doi.org/10.1162/pajj_a_00627","url":null,"abstract":"he global Covid pandemic with its covert, rapidly spreading pathogenicity of mutating variants, along with the hegemonic epidemic of computer hack-ing and the crisis of worldwide refugee diasporas, provoke urgent questions about a range of transmission enigmas. Long before history and technology, art ini-tiated the transmission circuit. Prehistoric caves housed vividly painted images of wild animals that continue to enthrall and mystify thirty-five centuries later. In radical contrast, technophilia , the compulsively seductive allure of our hyperactive media, continues to become increasingly endemic. Powerful synaptic algorithms incessant-ly propagate synergetic labyrinths of instant information transferences whose interconnectivity and obsessive fission sustain the world while threatening its survival. Ancient cave paintings, like at Chauvet and Altmira, which colorful eidetic of dirt, red ochre, blood, and and bones, undoubtedly served the magical subduing and controlling nature’s treacher-ous chthonic forces. Visual and oneiric, those paintings bridged dreams, imagi-nation, and futurity—anticipating and history. The enigma of how were produced—in deep, hidden, pitch-black recesses or high inaccessible cavern ceilings—remains a mystery. Those proto-artists’ prehensile dexterity catalyzed the frontal lobes of the brain crucial for the development of language.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"61 1","pages":"55-67"},"PeriodicalIF":0.3,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90744790","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}
I used to find home aquariums deeply disturbing. People said they were soothing and that watching the fish move around made them calm. But that’s precisely what I found disturbing, the fish gliding from this side to that and back, between the plants, not avoiding each other but not making contact either, incessantly moving around in this very constricted space, not exactly in circles, but with very few possible variations. It wasn’t the thought that they might be bored or that the lack of variation might drive them insane that disturbed me. (I don’t know what makes fish happy.) Rather, it was the fact that they seemed perfectly content with doing absolutely nothing day in day out besides moving around. What exactly, I thought, distinguishes us from these fish? We do lots of different things, our radius is much larger and so is the scope of activities we engage in, but does that actually amount to anything more than this senseless motion, here and there and through the middle and back, until we move no more? There is sense, yes, enormous amounts of it, intricate and sophisticated, but does that really change anything?
{"title":"Beyond Making Sense","authors":"Christian Grueny","doi":"10.1162/pajj_a_00632","DOIUrl":"https://doi.org/10.1162/pajj_a_00632","url":null,"abstract":"I used to find home aquariums deeply disturbing. People said they were soothing and that watching the fish move around made them calm. But that’s precisely what I found disturbing, the fish gliding from this side to that and back, between the plants, not avoiding each other but not making contact either, incessantly moving around in this very constricted space, not exactly in circles, but with very few possible variations. It wasn’t the thought that they might be bored or that the lack of variation might drive them insane that disturbed me. (I don’t know what makes fish happy.) Rather, it was the fact that they seemed perfectly content with doing absolutely nothing day in day out besides moving around. What exactly, I thought, distinguishes us from these fish? We do lots of different things, our radius is much larger and so is the scope of activities we engage in, but does that actually amount to anything more than this senseless motion, here and there and through the middle and back, until we move no more? There is sense, yes, enormous amounts of it, intricate and sophisticated, but does that really change anything?","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"26 1","pages":"92-96"},"PeriodicalIF":0.3,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81504607","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 image is still so clear. Maybe he wasn’t so tall, but he was always standing, and I was always sitting and looking up to his smiling face to find some answer. And he would say, “It’s okay. Don’t worry about making mess.” I wanted to impress him by making something beautiful. But there was no success. Knowing my intention or not, he was always just there in the same relaxed manner, standing with his back to the sun.
{"title":"Sun Through Broken Screen: Murakami and Gutai","authors":"Kay Nishikawa","doi":"10.1162/pajj_a_00628","DOIUrl":"https://doi.org/10.1162/pajj_a_00628","url":null,"abstract":"The image is still so clear. Maybe he wasn’t so tall, but he was always standing, and I was always sitting and looking up to his smiling face to find some answer. And he would say, “It’s okay. Don’t worry about making mess.” I wanted to impress him by making something beautiful. But there was no success. Knowing my intention or not, he was always just there in the same relaxed manner, standing with his back to the sun.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"58 1","pages":"68-73"},"PeriodicalIF":0.3,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83944867","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":"Trajal Harrell: The Anxiety of Autobiography","authors":"Brittany N. Barton","doi":"10.1162/pajj_a_00629","DOIUrl":"https://doi.org/10.1162/pajj_a_00629","url":null,"abstract":"","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"10 1","pages":"74-80"},"PeriodicalIF":0.3,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87787200","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":"Social Injustice","authors":"Paul David Young","doi":"10.1162/pajj_a_00631","DOIUrl":"https://doi.org/10.1162/pajj_a_00631","url":null,"abstract":"","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"127 1","pages":"86-91"},"PeriodicalIF":0.3,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86589287","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}
In the article, the author presents updates on the art and performance in Germany amidst the coronavirus pandemic as of September 2022. Other topics include the opening of theaters in the country in 2021 with plays like "Die Dreigroschenoper," starring Nico Holonics, the cases of cancellation of shows like "Der Hofmeister" (The Tutor) due to the pandemic, and how emergency funding for the performing arts sustained the German theatre during the pandemic.
{"title":"Singing in Dark Times: Report from Berlin","authors":"Matt Cornish","doi":"10.1162/pajj_a_00623","DOIUrl":"https://doi.org/10.1162/pajj_a_00623","url":null,"abstract":"In the article, the author presents updates on the art and performance in Germany amidst the coronavirus pandemic as of September 2022. Other topics include the opening of theaters in the country in 2021 with plays like \"Die Dreigroschenoper,\" starring Nico Holonics, the cases of cancellation of shows like \"Der Hofmeister\" (The Tutor) due to the pandemic, and how emergency funding for the performing arts sustained the German theatre during the pandemic.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"253 1","pages":"3-17"},"PeriodicalIF":0.3,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72928460","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":"Sculpting Time: Sara Rudner in Her Studio","authors":"Emily Coates","doi":"10.1162/pajj_a_00626","DOIUrl":"https://doi.org/10.1162/pajj_a_00626","url":null,"abstract":"","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"22 1","pages":"37-54"},"PeriodicalIF":0.3,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81222050","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":"All Right. Good Night. (Excerpt)","authors":"Helgard Haug","doi":"10.1162/pajj_a_00633","DOIUrl":"https://doi.org/10.1162/pajj_a_00633","url":null,"abstract":"","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"89 1","pages":"97-117"},"PeriodicalIF":0.3,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81466869","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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