{"title":"Dancers, Mountains, and People in the Fields","authors":"A. Weinert","doi":"10.1162/pajj_a_00624","DOIUrl":"https://doi.org/10.1162/pajj_a_00624","url":null,"abstract":"","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"41 1","pages":"18-26"},"PeriodicalIF":0.3,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80013067","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}
Combining memoir, manifesto, aphorisms, academic essays, photographs, poetry, and prose, Getting Off, Lee Breuer’s final work published during his lifetime (1937–2021), like his performance pieces, is impossible to categorize. We have here a fantastic toolkit (or bag of tricks) to help us navigate through Breuer’s wonderful journey across world theatre traditions, performance legacies, geographical continents, and intertextual dialogues, where his life and his art fuse into one marvelous concoction that at once surprises and baffles, but always rewards. It does so, following a genealogy that ranges from the Greeks to Jarry to Brecht, in a manner that fuses pedagogy and pleasure. Both Getting Off and La Divina Caricatura, Breuer’s last collection of plays, plunge into the lowest of depths, into the blasphemous, visceral, toxic realms of performance traditions and our performative existence, while also expanding in multiple—almost magical—ways what it means to be human, and what it means to perform. Reading these books together—and indeed they are in dialogue—is a rollercoaster of an experience through acting, puppetry, and directing, guided by the at once philosophical and naïve eyes of Breuer. As both titles suggest, the sacred is mixed with the profane, the high with the low, the religious with the secular. Breuer transpires as a magician and a scholar, a prophet and a trickster, a genius and a fraud, and he always gets off.
{"title":"Between the Sacred and the Profane: The Works and Days of Lee Breuer","authors":"Olga Taxidou","doi":"10.1162/pajj_r_00634","DOIUrl":"https://doi.org/10.1162/pajj_r_00634","url":null,"abstract":"Combining memoir, manifesto, aphorisms, academic essays, photographs, poetry, and prose, Getting Off, Lee Breuer’s final work published during his lifetime (1937–2021), like his performance pieces, is impossible to categorize. We have here a fantastic toolkit (or bag of tricks) to help us navigate through Breuer’s wonderful journey across world theatre traditions, performance legacies, geographical continents, and intertextual dialogues, where his life and his art fuse into one marvelous concoction that at once surprises and baffles, but always rewards. It does so, following a genealogy that ranges from the Greeks to Jarry to Brecht, in a manner that fuses pedagogy and pleasure. Both Getting Off and La Divina Caricatura, Breuer’s last collection of plays, plunge into the lowest of depths, into the blasphemous, visceral, toxic realms of performance traditions and our performative existence, while also expanding in multiple—almost magical—ways what it means to be human, and what it means to perform. Reading these books together—and indeed they are in dialogue—is a rollercoaster of an experience through acting, puppetry, and directing, guided by the at once philosophical and naïve eyes of Breuer. As both titles suggest, the sacred is mixed with the profane, the high with the low, the religious with the secular. Breuer transpires as a magician and a scholar, a prophet and a trickster, a genius and a fraud, and he always gets off.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"15 1","pages":"118-122"},"PeriodicalIF":0.3,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88114082","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":"Sprouts for Life: Eco-Feminism and Performance","authors":"Leslie Labowitz, J. Apple","doi":"10.1162/pajj_a_00625","DOIUrl":"https://doi.org/10.1162/pajj_a_00625","url":null,"abstract":"","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"2015 1","pages":"27-36"},"PeriodicalIF":0.3,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87069922","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}
How does a spider experience the world? This is a question I hadn’t really considered before visiting Tomás Saraceno’s Particular Matter(s) exhibition. It meditates on a central question: How can humans learn to experience our environment differently beyond the human perspective? Exploring this idea throughout the vast gallery space, Saraceno’s compiles new and existing work that accompanies the centerpiece of the exhibit: a ninety-five-foot-diameter spherical installation entitled Free the Air: How to Hear the Universe in a Spider/Web.
{"title":"Learning to Listen","authors":"S. Lucie","doi":"10.1162/pajj_a_00630","DOIUrl":"https://doi.org/10.1162/pajj_a_00630","url":null,"abstract":"How does a spider experience the world? This is a question I hadn’t really considered before visiting Tomás Saraceno’s Particular Matter(s) exhibition. It meditates on a central question: How can humans learn to experience our environment differently beyond the human perspective? Exploring this idea throughout the vast gallery space, Saraceno’s compiles new and existing work that accompanies the centerpiece of the exhibit: a ninety-five-foot-diameter spherical installation entitled Free the Air: How to Hear the Universe in a Spider/Web.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"66 1","pages":"81-85"},"PeriodicalIF":0.3,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81132227","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":"Common Ground","authors":"Bonnie G. Marranca","doi":"10.1162/pajj_e_00622","DOIUrl":"https://doi.org/10.1162/pajj_e_00622","url":null,"abstract":"","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"1 1","pages":"1-2"},"PeriodicalIF":0.3,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78984539","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}
Anne Carson’s long-term obsession with Herakles emerges from endless contradictory representations of this unique Greek hero/eventual divinity. The colossal Herakles of the famed labors kills an array of monstrous beasts; wears a lion skin; uses a bow and arrow and club more often than the heroic shield and spear; defeats whole cities or armies by himself; briefly takes over holding the world on his shoulders from the god Atlas; travels the globe from far east to far west; descends to Hades to retrieve the three-headed dog of the Underworld, Cerberus; and makes the world safe for civilization from the margins. This figure is ubiquitous on Greek pots and temples but is remote and not quite accessibly human. Herakles/Hercules was also for Greeks and Romans a stoic hero who accepts a life of continuous toil because Hera, the goddess who hated him from the moment Zeus conceived him with the mortal woman Alkmene, cheated him of his birthright and doomed him to serve his cousin Eurystheus. Even his name, which means “glory of Hera” (hera/kleos), derives from this enmity. Unlike other heroes, Herakles never receives the kingship of Argos or Thebes to which he was entitled. All his wives die. Every time he makes a rare entrance into a city or a civilized context, trouble explodes. A repeated violater of host-guest relations, he is punished for killing his host’s son Iphitus by serving an eastern queen Omphale for a year. His appetites are excessive, as well. During one visit he impregnated all fifty daughters of Thespius, who was anxious to have heroic descendants. In comedy, where his appetitive character fits quite well, he attends only to food and wenching.
{"title":"Reframing Tragedy","authors":"Helen Foley","doi":"10.1162/pajj_r_00620","DOIUrl":"https://doi.org/10.1162/pajj_r_00620","url":null,"abstract":"Anne Carson’s long-term obsession with Herakles emerges from endless contradictory representations of this unique Greek hero/eventual divinity. The colossal Herakles of the famed labors kills an array of monstrous beasts; wears a lion skin; uses a bow and arrow and club more often than the heroic shield and spear; defeats whole cities or armies by himself; briefly takes over holding the world on his shoulders from the god Atlas; travels the globe from far east to far west; descends to Hades to retrieve the three-headed dog of the Underworld, Cerberus; and makes the world safe for civilization from the margins. This figure is ubiquitous on Greek pots and temples but is remote and not quite accessibly human. Herakles/Hercules was also for Greeks and Romans a stoic hero who accepts a life of continuous toil because Hera, the goddess who hated him from the moment Zeus conceived him with the mortal woman Alkmene, cheated him of his birthright and doomed him to serve his cousin Eurystheus. Even his name, which means “glory of Hera” (hera/kleos), derives from this enmity. Unlike other heroes, Herakles never receives the kingship of Argos or Thebes to which he was entitled. All his wives die. Every time he makes a rare entrance into a city or a civilized context, trouble explodes. A repeated violater of host-guest relations, he is punished for killing his host’s son Iphitus by serving an eastern queen Omphale for a year. His appetites are excessive, as well. During one visit he impregnated all fifty daughters of Thespius, who was anxious to have heroic descendants. In comedy, where his appetitive character fits quite well, he attends only to food and wenching.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"23 1","pages":"143-147"},"PeriodicalIF":0.3,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75143019","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}
Onstage, ten empty chairs of different sizes and materials—forming a semicircle—asked to be filled. In the middle, Portuguese director Tiago Rodrigues sat on a black stool with a book, reading and waiting for the audience to enter the house. He wore a white t-shirt with an image of poet Boris Pasternak in front and literary critic George Steiner on the back, whom he later quoted at length. In front of him stood three wooden crates full of books. The casual outfit and mundane objects presaged how Rodrigues later chafed at any claims of theatricality, in his promise that everything would be normal and calm during the performance. With this in mind, he invited ten volunteers from the audience to occupy the chairs and learn a poem by heart. The poem he had chosen, according to Rodrigues, was neither easy nor too difficult—it was something possible. The performance would begin only when the chairs were occupied, and end when all ten audience-participants recited the poem in full.
{"title":"A Poem by Heart","authors":"Hui-rong Peng","doi":"10.1162/pajj_a_00613","DOIUrl":"https://doi.org/10.1162/pajj_a_00613","url":null,"abstract":"Onstage, ten empty chairs of different sizes and materials—forming a semicircle—asked to be filled. In the middle, Portuguese director Tiago Rodrigues sat on a black stool with a book, reading and waiting for the audience to enter the house. He wore a white t-shirt with an image of poet Boris Pasternak in front and literary critic George Steiner on the back, whom he later quoted at length. In front of him stood three wooden crates full of books. The casual outfit and mundane objects presaged how Rodrigues later chafed at any claims of theatricality, in his promise that everything would be normal and calm during the performance. With this in mind, he invited ten volunteers from the audience to occupy the chairs and learn a poem by heart. The poem he had chosen, according to Rodrigues, was neither easy nor too difficult—it was something possible. The performance would begin only when the chairs were occupied, and end when all ten audience-participants recited the poem in full.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"342 1","pages":"89-92"},"PeriodicalIF":0.3,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78340016","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":"Now","authors":"Bonnie G. Marranca","doi":"10.1162/pajj_e_00605","DOIUrl":"https://doi.org/10.1162/pajj_e_00605","url":null,"abstract":"","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"35 1","pages":"1-2"},"PeriodicalIF":0.3,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81229281","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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