Pub Date : 2022-01-01DOI: 10.1017/S0040557421000508
Deniz Başar
appears amid discussions of the common use of the term “bourgeois” as a pejorative in contemporary (bourgeois) culture. Disidentification thus describes the author’s (and perhaps reader’s) own sense of their relationship to the term “bourgeois.” In subsequent chapters we find that the figure of disidentification may in fact be intrinsic to theatre (insofar as the use of theatre as a machine of ideological reproduction is prone to failure) (73), and implicit in the emergence of the trunkmaker and related figures (137). It serves as a marker of ideal subjects of capitalism (154), but also as one way to escape interpellation as such an ideal subject (177). Disidentification is innate to bourgeois subjectivity insofar as it reiterates the distance at the center of that subjectivity, but it might also be cultivated to encourage more bourgeois subjects to resist interpellation as good subjects of capitalism. Surprisingly, the book does not directly engage with other approaches to disidentification in performance studies, especially José Esteban Muñoz’s Disidentifications: Queers of Color and the Performance of Politics (1999) which offers a theory of precisely some of those subjectivities the author frets he may be excluding by extrapolating from his own subjectivity. The absence is hardly fatal and points to ways in which Scenes from Bourgeois Life will have a significant impact on conversations across the disciplines of theatre and performance studies. Scenes from Bourgeois Life provides an account of the historically contingent mode of spectatorship that remains dominant today, an account that must be reckoned with by any effort to theorize the capacity of theatre to make political subjects, to impact its audiences, or to play a role in addressing the oppressions it so often depicts.
{"title":"Struggle and Survival under Authoritarianism in Turkey: Theatre under Threat","authors":"Deniz Başar","doi":"10.1017/S0040557421000508","DOIUrl":"https://doi.org/10.1017/S0040557421000508","url":null,"abstract":"appears amid discussions of the common use of the term “bourgeois” as a pejorative in contemporary (bourgeois) culture. Disidentification thus describes the author’s (and perhaps reader’s) own sense of their relationship to the term “bourgeois.” In subsequent chapters we find that the figure of disidentification may in fact be intrinsic to theatre (insofar as the use of theatre as a machine of ideological reproduction is prone to failure) (73), and implicit in the emergence of the trunkmaker and related figures (137). It serves as a marker of ideal subjects of capitalism (154), but also as one way to escape interpellation as such an ideal subject (177). Disidentification is innate to bourgeois subjectivity insofar as it reiterates the distance at the center of that subjectivity, but it might also be cultivated to encourage more bourgeois subjects to resist interpellation as good subjects of capitalism. Surprisingly, the book does not directly engage with other approaches to disidentification in performance studies, especially José Esteban Muñoz’s Disidentifications: Queers of Color and the Performance of Politics (1999) which offers a theory of precisely some of those subjectivities the author frets he may be excluding by extrapolating from his own subjectivity. The absence is hardly fatal and points to ways in which Scenes from Bourgeois Life will have a significant impact on conversations across the disciplines of theatre and performance studies. Scenes from Bourgeois Life provides an account of the historically contingent mode of spectatorship that remains dominant today, an account that must be reckoned with by any effort to theorize the capacity of theatre to make political subjects, to impact its audiences, or to play a role in addressing the oppressions it so often depicts.","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"63 1","pages":"130 - 132"},"PeriodicalIF":0.2,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49131937","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}
Pub Date : 2022-01-01DOI: 10.1017/S004055742100048X
Cecilia A. Feilla
ideas and landmarks in theatre and political economy since the 1850s: nineteenthcentury industrialization, the waxing and waning postwar UK welfare state, Irish peace in the 1990s, North American border panics after 9/11, and austerity politics in the 2010s. In all of these frameworks, McKinnie sees and communicates clearly how the mechanics of theatremaking make political and economic meaning as much as, if not more than, the theatrical performance.
{"title":"Dramatic Justice: Trial by Theater in the Age of the French Revolution By Yann Robert. Philadelphia: University of Pennsylvania Press, 2019; pp. viii + 331, 1 illustration. $79.95 cloth, $75.95 e-book.","authors":"Cecilia A. Feilla","doi":"10.1017/S004055742100048X","DOIUrl":"https://doi.org/10.1017/S004055742100048X","url":null,"abstract":"ideas and landmarks in theatre and political economy since the 1850s: nineteenthcentury industrialization, the waxing and waning postwar UK welfare state, Irish peace in the 1990s, North American border panics after 9/11, and austerity politics in the 2010s. In all of these frameworks, McKinnie sees and communicates clearly how the mechanics of theatremaking make political and economic meaning as much as, if not more than, the theatrical performance.","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"63 1","pages":"126 - 128"},"PeriodicalIF":0.2,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49179449","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}
Pub Date : 2022-01-01DOI: 10.1017/S0040557421000429
E. Charlton
For good reason, proscenium staging has fallen out of favor in recent decades. Taken to be a synonym for passivity, its constraints on the theatrical imagination have been largely replaced by a suite of more active, immersive, and site-specific strategies. In performance spaces across the Global South, however, it is not only this rising taste for interaction that has driven the proscenium’s demise. Caught up in the history of colonial power, as Catherine M. Cole notes in Performance and the Afterlives of Injustice: Dance and Live Art in Contemporary South Africa and Beyond, proscenium staging served originally to displace many of those indigenous performance traditions ill-suited to such a comparatively static form. Cole cites, for example, the “more communal” (170) circular stages once common to Congolese dance. We might recall, too, the participatory impulses that historically conditioned performances of praise poetry across southern Africa. In this context, the fading popularity of the proscenium stage has also been understood as vital for the revival of these and many other more kinetic indigenous traditions. In charting the recent rise of live art in countries like South Africa and the DRC, however, Cole is careful to resist the idea of a pristine return to the precolonial past, whether onstage or in society at large. Attuned to the entangled, often intractable afterlives of racial injustice not just in Africa but across the globe, her latest book explores instead the unresolved wrongs that often remain long after the basic architecture of white, colonial power has been dismantled. This is not to give up on the possibility of “a world that is otherwise,” as Cole puts it (220), echoing decolonial thinkers like Walter Mignolo. But neither is it to assume that simple strategies like a return to circular staging can perform theatre’s decolonization. Rather, Cole’s critique attempts to “dwell in complexity” by enduring the “lack of resolution” that necessarily stalks the pursuit of justice after colonialism (32). As such, in this latest study, she actively extends the sense of political irresolution that animates her
近几十年来，舞台舞台已经不再受欢迎，这是有充分理由的。作为被动的同义词，它对戏剧想象力的限制在很大程度上已经被一套更主动、沉浸式和特定于场地的策略所取代。然而，在全球南方的表演空间中，推动舞台消亡的不仅仅是这种对互动的日益增长的品味。正如凯瑟琳·m·科尔(Catherine M. Cole)在《表演与非正义的余生:当代南非及其他地区的舞蹈与现场艺术》(Performance and Afterlives of Injustice: Dance and Live Art in Contemporary South Africa)一书中所指出的那样，在殖民权力的历史中，舞台表演最初是为了取代许多不适合这种相对静态形式的本土表演传统。科尔举了一个例子，“更公共的”(170个)圆形舞台曾经是刚果舞蹈中常见的。我们也许还会想起，在历史上制约了整个非洲南部赞美诗表演的参与性冲动。在这种背景下，舞台舞台的衰落也被理解为对这些和许多其他更具活力的土著传统的复兴至关重要。然而，在描绘最近在南非和刚果民主共和国等国家兴起的现场艺术时，科尔小心翼翼地抵制了回归前殖民时代的想法，无论是在舞台上还是在整个社会中。不仅在非洲，而且在全球范围内，她的新书与种族不公正的纠缠，往往是棘手的后遗症相协调，而是探讨了在白人殖民权力的基本架构被拆除后很久仍未解决的错误。这并不是要放弃“另一个世界”的可能性，正如科尔所说(220页)，呼应了沃尔特·米尼奥洛(Walter Mignolo)等非殖民主义思想家。但也不能假设回归圆形舞台这样的简单策略就能实现剧院的非殖民化。相反，科尔的批判试图通过忍受殖民主义之后对正义的追求必然伴随着的“缺乏解决方案”而“陷于复杂性”(32)。因此，在这个最新的研究中，她积极地扩展了让她充满活力的政治优柔寡断感
{"title":"Performance and the Afterlives of Injustice: Dance and Live Art in Contemporary South Africa and Beyond By Catherine M. Cole. Ann Arbor: Michigan University Press, 2020, pp. xviii + 286, 18 illustrations. $85 cloth, $39.95 paper, $39.95 e-book.","authors":"E. Charlton","doi":"10.1017/S0040557421000429","DOIUrl":"https://doi.org/10.1017/S0040557421000429","url":null,"abstract":"For good reason, proscenium staging has fallen out of favor in recent decades. Taken to be a synonym for passivity, its constraints on the theatrical imagination have been largely replaced by a suite of more active, immersive, and site-specific strategies. In performance spaces across the Global South, however, it is not only this rising taste for interaction that has driven the proscenium’s demise. Caught up in the history of colonial power, as Catherine M. Cole notes in Performance and the Afterlives of Injustice: Dance and Live Art in Contemporary South Africa and Beyond, proscenium staging served originally to displace many of those indigenous performance traditions ill-suited to such a comparatively static form. Cole cites, for example, the “more communal” (170) circular stages once common to Congolese dance. We might recall, too, the participatory impulses that historically conditioned performances of praise poetry across southern Africa. In this context, the fading popularity of the proscenium stage has also been understood as vital for the revival of these and many other more kinetic indigenous traditions. In charting the recent rise of live art in countries like South Africa and the DRC, however, Cole is careful to resist the idea of a pristine return to the precolonial past, whether onstage or in society at large. Attuned to the entangled, often intractable afterlives of racial injustice not just in Africa but across the globe, her latest book explores instead the unresolved wrongs that often remain long after the basic architecture of white, colonial power has been dismantled. This is not to give up on the possibility of “a world that is otherwise,” as Cole puts it (220), echoing decolonial thinkers like Walter Mignolo. But neither is it to assume that simple strategies like a return to circular staging can perform theatre’s decolonization. Rather, Cole’s critique attempts to “dwell in complexity” by enduring the “lack of resolution” that necessarily stalks the pursuit of justice after colonialism (32). As such, in this latest study, she actively extends the sense of political irresolution that animates her","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"63 1","pages":"115 - 117"},"PeriodicalIF":0.2,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"56835275","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}
Pub Date : 2022-01-01DOI: 10.1017/S0040557421000491
J. Ball
the burgeoning field of reenactment studies by adding significant insight into the eighteenth-century origins of the form and its relation to the performance of justice. It is a pity the author does not engage with Rebecca Schneider’s influential work on the topic, as dialogue with her main terms and ideas would have broadened the implications of his excellent analyses and arguments. One also wonders how other high-profile cases of the period, such as the trial of Charlotte Corday or the Kornmann affair, might fit into the book’s narrative. In the final section, the argument occasionally becomes repetitive, and its bold claims of reversals at times mask subtler moves that are equally or more interesting for being so. Theseminor points aside, Robert’s book is a tour de force thatwill be required reading for anyone working on theatre and history of the French Enlightenment and Revolution. The book deserves a wide readership among scholars of contemporary theatre, theatre history, and performance studies as well, especially those interested in reenactment and the interconnection of theatre and justice. Revealing how judicial procedures and outcomes both shaped and were shaped by theatre in the late eighteenth century, Dramatic Justice also reminds us that, for good and bad, our own culture of court TV, show trials, and legal dramas has its roots in the eighteenth century.
{"title":"Scenes from Bourgeois Life By Nicholas Ridout. Theater: Theory/Text/Performance. Ann Arbor: University of Michigan Press, 2020; pp. xii + 211. $70 cloth, $54.95 e-book.","authors":"J. Ball","doi":"10.1017/S0040557421000491","DOIUrl":"https://doi.org/10.1017/S0040557421000491","url":null,"abstract":"the burgeoning field of reenactment studies by adding significant insight into the eighteenth-century origins of the form and its relation to the performance of justice. It is a pity the author does not engage with Rebecca Schneider’s influential work on the topic, as dialogue with her main terms and ideas would have broadened the implications of his excellent analyses and arguments. One also wonders how other high-profile cases of the period, such as the trial of Charlotte Corday or the Kornmann affair, might fit into the book’s narrative. In the final section, the argument occasionally becomes repetitive, and its bold claims of reversals at times mask subtler moves that are equally or more interesting for being so. Theseminor points aside, Robert’s book is a tour de force thatwill be required reading for anyone working on theatre and history of the French Enlightenment and Revolution. The book deserves a wide readership among scholars of contemporary theatre, theatre history, and performance studies as well, especially those interested in reenactment and the interconnection of theatre and justice. Revealing how judicial procedures and outcomes both shaped and were shaped by theatre in the late eighteenth century, Dramatic Justice also reminds us that, for good and bad, our own culture of court TV, show trials, and legal dramas has its roots in the eighteenth century.","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"63 1","pages":"128 - 130"},"PeriodicalIF":0.2,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49427331","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}
Pub Date : 2021-12-17DOI: 10.1017/S0040557421000582
J. Hamera
A raging global pandemic handled inadequately and indifferently by the Republican-led US federal government, with Dr. Anthony Fauci in a featured role; an antiracist uprising in response to police brutality; a resurgent political Right fomenting and stoking culture wars; activists’ demands for a diverse and equitable art world; increasing fiscal precarity for small, innovative live art spaces; a looming recession; and an escalating housing crisis fueled by accelerating income inequality: welcome to Los Angeles between 1989 and 1993. In this period, AIDS became the leading cause of death for US men ages 25–44; ACT UP (AIDS Coalition to Unleash Power)/LA called public health infrastructure to account and successfully fought for an AIDS ward at Los Angeles County Hospital. A widely circulated video of Los Angeles Police Department officers viciously beating Black motorist Rodney King, and their subsequent acquittal of criminal charges by a suburban jury, ignited five days of antiracist rebellion. The rising number of unhoused people in Los Angeles was becoming difficult to ignore, though not for the city's, state's, or federal government's lack of trying. “Multiculturalism” became a widely embraced—if sometimes cynically deployed—aesthetic and programming imperative.
{"title":"Counterpublic Goods in Interesting Times: Transitional Subjectivities Onstage at Highways Performance Space, 1989–1993","authors":"J. Hamera","doi":"10.1017/S0040557421000582","DOIUrl":"https://doi.org/10.1017/S0040557421000582","url":null,"abstract":"A raging global pandemic handled inadequately and indifferently by the Republican-led US federal government, with Dr. Anthony Fauci in a featured role; an antiracist uprising in response to police brutality; a resurgent political Right fomenting and stoking culture wars; activists’ demands for a diverse and equitable art world; increasing fiscal precarity for small, innovative live art spaces; a looming recession; and an escalating housing crisis fueled by accelerating income inequality: welcome to Los Angeles between 1989 and 1993. In this period, AIDS became the leading cause of death for US men ages 25–44; ACT UP (AIDS Coalition to Unleash Power)/LA called public health infrastructure to account and successfully fought for an AIDS ward at Los Angeles County Hospital. A widely circulated video of Los Angeles Police Department officers viciously beating Black motorist Rodney King, and their subsequent acquittal of criminal charges by a suburban jury, ignited five days of antiracist rebellion. The rising number of unhoused people in Los Angeles was becoming difficult to ignore, though not for the city's, state's, or federal government's lack of trying. “Multiculturalism” became a widely embraced—if sometimes cynically deployed—aesthetic and programming imperative.","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"63 1","pages":"90 - 114"},"PeriodicalIF":0.2,"publicationDate":"2021-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42843401","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}
Pub Date : 2021-12-13DOI: 10.1017/S0040557421000569
Amy B. Huang
In an 1847 lecture before the Female Anti-Slavery Society of Salem, William Wells Brown stated: “Were I about to tell you the evils of Slavery, to represent to you the Slave in his lowest degradation, I should wish to take you, one at a time, and whisper it to you. Slavery has never been represented; Slavery never can be represented.” In these oft-cited lines, Wells Brown makes a strong claim for the absolute impossibility of representing slavery. But I wish to pause and stay with his earlier suggestion that it might just be possible to tell about slavery in a whisper. Breaking through the fastidiousness of the audience, a whisper can bring the condition of slavery close.
{"title":"Alongside Slavery's Asides: Reverberations of Edward Young's The Revenge","authors":"Amy B. Huang","doi":"10.1017/S0040557421000569","DOIUrl":"https://doi.org/10.1017/S0040557421000569","url":null,"abstract":"In an 1847 lecture before the Female Anti-Slavery Society of Salem, William Wells Brown stated: “Were I about to tell you the evils of Slavery, to represent to you the Slave in his lowest degradation, I should wish to take you, one at a time, and whisper it to you. Slavery has never been represented; Slavery never can be represented.” In these oft-cited lines, Wells Brown makes a strong claim for the absolute impossibility of representing slavery. But I wish to pause and stay with his earlier suggestion that it might just be possible to tell about slavery in a whisper. Breaking through the fastidiousness of the audience, a whisper can bring the condition of slavery close.","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"63 1","pages":"34 - 62"},"PeriodicalIF":0.2,"publicationDate":"2021-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41948994","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}
Pub Date : 2021-12-13DOI: 10.1017/S0040557421000570
L. Livingston
I think, then, that Negroes must concern themselves with every single means of struggle: legal, illegal, passive, active, violent and non-violent. That they must harass, debate, petition, give money to court struggles, sit-in, lie-down, strike, boycott, sing hymns, pray on steps—and shoot from their windows when the racists come cruising through their communities.—Lorraine Hansberry (1962)
{"title":"Shooting from Windows: Performing Tactical Lawfulness during Jim Crow","authors":"L. Livingston","doi":"10.1017/S0040557421000570","DOIUrl":"https://doi.org/10.1017/S0040557421000570","url":null,"abstract":"I think, then, that Negroes must concern themselves with every single means of struggle: legal, illegal, passive, active, violent and non-violent. That they must harass, debate, petition, give money to court struggles, sit-in, lie-down, strike, boycott, sing hymns, pray on steps—and shoot from their windows when the racists come cruising through their communities.—Lorraine Hansberry (1962)","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"63 1","pages":"63 - 89"},"PeriodicalIF":0.2,"publicationDate":"2021-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45762135","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}
Pub Date : 2021-12-13DOI: 10.1017/S0040557421000557
Michael d'Alessandro
In April 1885, a New York Herald journalist rushed to Madison Square Garden for a special reception highlighting Jo-Jo, the Dog-Faced Boy. A feature of P. T. Barnum's traveling show, Jo-Jo was confounding scientists who had requested a stand-alone inspection of the mysterious attraction. Accordingly, the reporter provided an anthropological description of the boy: “He stands about five feet high. . . . His whole body is covered by a very thick growth of long, tow colored hair . . . and the peculiar formation of his head [is] very suggestive of the Russian dachshund.” At first, Jo-Jo appeared docile, but as the scientists prodded him more and more, he started “snarling, showing his three canine teeth” and asked his guardian if he could bite the inspectors. Jo-Jo was decidedly not a dog-boy, or not exactly. He was, in fact, a Russian teenager suffering from hypertrichosis, a condition causing excessive hair growth all over the body, including nearly every surface area of the face. Barnum had signed him to perform a year earlier, and the boy made quite an auspicious debut. However, Jo-Jo was simply the latest in a long line of supposed hybrid species and exotic curiosities that Barnum had been displaying since midcentury. The famed showman built his name in part by presenting human creation itself as a continual spectrum. Barnum's attractions ranged from live tigers and giraffes to enigmatic simian performers to wax statues of America's degraded lower classes. As much of a draw as he became, even Jo-Jo had to share a bill with Tattooed Hindoo Dwarfs, Hungarian Gypsies, Buddhist Priests, as well as a menagerie of animals including baby elephants, kangaroos, lions, and twenty-foot-long “great sinewy serpents.” But Jo-Jo's specific appeal was tied to his inexplicability. Even given the closer inspection of the dog-faced boy, “none of the physicians present would hazard an opinion as to his ancestry.”
1885年4月，《纽约先驱报》的一名记者赶到麦迪逊广场花园参加一个特别招待会，宣传狗脸男孩Jo-Jo。作为p·t·巴纳姆(P. T. Barnum)巡回展览的一个特色，Jo-Jo让那些要求单独检查这个神秘景点的科学家们感到困惑。因此，记者提供了一个关于这个男孩的人类学描述:“他身高约五英尺. . . .他的整个身体都被一层很厚的长而浅的毛覆盖着…它头部的奇特形状很像俄罗斯腊肠犬。”起初，Jo-Jo看起来很温顺，但随着科学家们越来越多地刺激它，它开始“咆哮，露出三颗犬牙”，并问它的监护人它能不能咬检查员。乔乔显然不是一个狗男孩，或者说不完全是。事实上，他是一名患有多毛症的俄罗斯青少年，这种疾病会导致全身毛发过度生长，几乎包括面部的每个表面区域。巴纳姆早在一年前就签下了他，让他来表演，这个男孩的首秀相当顺利。然而，乔-乔只是巴纳姆自本世纪中叶以来一直在展示的一长串被认为是杂交物种和外来珍奇物种中的最新一种。这位著名的表演者之所以声名鹊起，部分原因是他将人类创造本身呈现为一个连续的光谱。巴纳姆的展品从活的老虎和长颈鹿到神秘的猿类表演者，再到美国堕落的下层阶级的蜡像，应有尽有。尽管乔乔很受欢迎，但他也不得不和纹身的印度小矮人、匈牙利吉普赛人、佛教牧师，以及一群动物，包括小象、袋鼠、狮子和20英尺长的“强壮的大蛇”共用一张桌。但Jo-Jo的特殊吸引力与他的神秘有关。即使仔细检查了这个狗脸男孩，“在场的医生中也没有一个敢对他的祖先发表意见。”
{"title":"At-Home Humbugs: Freaks and Fakes in the Nineteenth-Century Parlor Museum","authors":"Michael d'Alessandro","doi":"10.1017/S0040557421000557","DOIUrl":"https://doi.org/10.1017/S0040557421000557","url":null,"abstract":"In April 1885, a New York Herald journalist rushed to Madison Square Garden for a special reception highlighting Jo-Jo, the Dog-Faced Boy. A feature of P. T. Barnum's traveling show, Jo-Jo was confounding scientists who had requested a stand-alone inspection of the mysterious attraction. Accordingly, the reporter provided an anthropological description of the boy: “He stands about five feet high. . . . His whole body is covered by a very thick growth of long, tow colored hair . . . and the peculiar formation of his head [is] very suggestive of the Russian dachshund.” At first, Jo-Jo appeared docile, but as the scientists prodded him more and more, he started “snarling, showing his three canine teeth” and asked his guardian if he could bite the inspectors. Jo-Jo was decidedly not a dog-boy, or not exactly. He was, in fact, a Russian teenager suffering from hypertrichosis, a condition causing excessive hair growth all over the body, including nearly every surface area of the face. Barnum had signed him to perform a year earlier, and the boy made quite an auspicious debut. However, Jo-Jo was simply the latest in a long line of supposed hybrid species and exotic curiosities that Barnum had been displaying since midcentury. The famed showman built his name in part by presenting human creation itself as a continual spectrum. Barnum's attractions ranged from live tigers and giraffes to enigmatic simian performers to wax statues of America's degraded lower classes. As much of a draw as he became, even Jo-Jo had to share a bill with Tattooed Hindoo Dwarfs, Hungarian Gypsies, Buddhist Priests, as well as a menagerie of animals including baby elephants, kangaroos, lions, and twenty-foot-long “great sinewy serpents.” But Jo-Jo's specific appeal was tied to his inexplicability. Even given the closer inspection of the dog-faced boy, “none of the physicians present would hazard an opinion as to his ancestry.”","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"63 1","pages":"3 - 33"},"PeriodicalIF":0.2,"publicationDate":"2021-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42663668","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}
Pub Date : 2021-09-01DOI: 10.1017/S004055742100020X
Vivek Narayan
The crowded marketplace in Thiruvananthapuram (aka Trivandrum) thronged with people in the late nineteenth century. Men and women clad in white mundu teemed about the busy street buying oil and salt, horseshoes and iron farm implements, coarse cloth, coir rope, jaggery, and palm toddy. The men were mostly bare-chested, though some, unmindful of the sweltering heat, wore white long shirts or an upper-body cloth. While a few young women wore printed blouses, many, particularly the older women, wore no upper-body clothes except for large, beaded necklaces made of red-colored stones. Most people, with the exception of the men who clothed their upper body, walked along the sides of the road, leaving the path clear for the occasional bullock cart. These bullock carts, also known as villuvandi, carried young men-about-town, almost exclusively landowning, upper-caste Nairs. Dressed in a spotless white shirt, white mundu, and matching white turban, the Nair riding his villuvandi assumed the haughty air of a master surveying his subjects; out to observe his inferiors as much as be seen as a superior. These Nairs, and other upper-caste men and women, had the exclusive right of way, on bullock cart or on foot, the right to wear clean white clothes, and, of course, the right to ride a villuvandi. These rights were codified through caste-based rules or norms known as jati maryada, which governed all aspects of social behavior.
{"title":"Caste as Performance: Ayyankali and the Caste Scripts of Colonial Kerala","authors":"Vivek Narayan","doi":"10.1017/S004055742100020X","DOIUrl":"https://doi.org/10.1017/S004055742100020X","url":null,"abstract":"The crowded marketplace in Thiruvananthapuram (aka Trivandrum) thronged with people in the late nineteenth century. Men and women clad in white mundu teemed about the busy street buying oil and salt, horseshoes and iron farm implements, coarse cloth, coir rope, jaggery, and palm toddy. The men were mostly bare-chested, though some, unmindful of the sweltering heat, wore white long shirts or an upper-body cloth. While a few young women wore printed blouses, many, particularly the older women, wore no upper-body clothes except for large, beaded necklaces made of red-colored stones. Most people, with the exception of the men who clothed their upper body, walked along the sides of the road, leaving the path clear for the occasional bullock cart. These bullock carts, also known as villuvandi, carried young men-about-town, almost exclusively landowning, upper-caste Nairs. Dressed in a spotless white shirt, white mundu, and matching white turban, the Nair riding his villuvandi assumed the haughty air of a master surveying his subjects; out to observe his inferiors as much as be seen as a superior. These Nairs, and other upper-caste men and women, had the exclusive right of way, on bullock cart or on foot, the right to wear clean white clothes, and, of course, the right to ride a villuvandi. These rights were codified through caste-based rules or norms known as jati maryada, which governed all aspects of social behavior.","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"62 1","pages":"272 - 294"},"PeriodicalIF":0.2,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S004055742100020X","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42709760","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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