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.
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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)
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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。”
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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.
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Pub Date : 2021-09-01DOI: 10.1017/s0040557421000399
N. Normal
Chun focuses on Wang Chong's role as artistic director of the Beijing-based theatre company Théâtre du Rêve Expérimental (Xinchaun shiyan jutuan) and documents his work in the first half of 2020 as among the earliest efforts of theatre practitioners to adapt their theatre practice rapidly to the circumstances of the pandemic. Some of our colleagues have contracted and thankfully survived the virus;others have had to support students and/or colleagues through unfathomable losses. The third essay, by Tarryn Chun, begins the issue's pivot toward the present, and the various ways that artists and scholars are responding to the demands of a once-in-a-generation cultural moment. [Extracted from the article] Copyright of Theatre Survey is the property of Cambridge University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)
Chun重点介绍了王冲作为北京戏剧公司Théâtre du Rêve Expérimental（Xinchaun shiyan jutuan）艺术总监的角色，并记录了他在2020年上半年的作品，认为这是戏剧从业者为快速适应疫情而做出的最早努力之一。我们的一些同事感染了病毒，谢天谢地，他们活了下来；其他人不得不支持学生和/或同事度过难以估量的损失。第三篇文章由Tarryn Chun撰写，开始了这个问题向现在的转变，以及艺术家和学者对一代人只有一次的文化时刻的需求做出的各种回应。[摘自文章]《剧院调查》的版权归剑桥大学出版社所有，未经版权持有人明确书面许可，不得将其内容复制或通过电子邮件发送到多个网站或发布到listserv。但是，用户可以打印、下载或通过电子邮件发送文章供个人使用。这篇摘要可以节略。对复印件的准确性不作任何保证。用户应参考材料的原始发布版本以获取完整摘要。（版权适用于所有摘要。）
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Pub Date : 2021-09-01DOI: 10.1017/S0040557421000260
A. Mahoney
Because sensory theatre productions are designed with neurodiverse audiences in mind, practitioners are first and foremost concerned with accessibility at all levels for their audience members, incorporating multiple senses throughout a performance to allow a variety of entry points for audiences that may have wildly divergent—and often competing—access needs. One-to-one interaction between performers and audience members results in highly flexible performances that respond to physical and auditory input from individual audience members, through which performers curate customized multisensory experiences that communicate the production's theatrical world to its audience. Given this reliance on close-up interaction, the circumstances surrounding the COVID-19 pandemic have posed a particular challenge for sensory theatre makers. In in-person sensory theatre, performers focus on neurodivergent audience members, with parents and paid carers often taking a (literal) back seat, but remotely delivered sensory theatre during COVID-19 hinges on the carer's facilitation of sensory engagement curated by sensory theatre practitioners. Oily Cart, a pioneering London-based sensory theatre company, responded to COVID-19 restrictions with a season of work presented in various formats in audiences’ homes, and their production Space to Be marked a shift in the company's audience engagement to include an emphasis on the carer's experience.1 Using this production as a case study, I argue that the pivotal role adopted by carers during the pandemic has the potential to shape future in-person productions, moving practitioners toward a more holistic, neurodiverse audience experience that challenges a disabled–nondisabled binary by embracing carers’ experiences alongside those of neurodivergent audience members.2
由于感官剧院的制作考虑到了神经多样性的观众，从业者首先关心观众在各个层面的可及性，在整个演出中融入多种感官，为可能有着巨大差异且往往相互竞争的观众提供各种进入点。表演者和观众之间的一对一互动产生了高度灵活的表演，这些表演对来自个别观众的身体和听觉输入做出反应，表演者通过这些表演策划定制的多感官体验，将制作的戏剧世界传达给观众。鉴于这种对近距离互动的依赖，围绕新冠肺炎大流行的环境对感官剧院制作人提出了特别的挑战。在住院感官剧院，表演者专注于神经分裂的观众，父母和付费护理人员通常（字面上）退居次要地位，但在新冠肺炎期间，远程提供的感官剧院取决于护理人员对感官剧院从业者策划的感官参与的促进。Oily Cart，一家总部位于伦敦的先锋感官剧院公司，为了应对新冠肺炎的限制，在观众家中以各种形式呈现了一季作品，他们的制作《Space to Be》标志着该公司观众参与度的转变，将重点放在护理人员的体验上，我认为，在疫情期间，护理人员所扮演的关键角色有可能塑造未来的面对面制作，通过将护理人员的经历与神经分化的观众成员的经历相结合，推动从业者获得更全面、神经多样的观众体验，挑战残疾-非残疾的二元性。2
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Pub Date : 2021-09-01DOI: 10.1017/S0040557421000314
Kate Bredeson
The year of COVID-19 social distancing is a reminder that people can and will gather in person in mass acts of resistance and community care, even in a pandemic. This year highlights how theatres, theatre skills, and theatrical techniques can be a key part of community building and dissent. The examples of the Twin Cities in summer 2020; Portland, Oregon, in 2020–1; and France in spring-summer 2021 showcase the potential for theatre artists to use their skills and spaces to support protest work. I highlight these three examples due to my personal connections (I am from the Twin Cities; live in Portland and serve as a legal observer during the Protests; and, in my scholarship, specialize in French theatre and protest), due to the scale of these actions, and in order to amplify the pandemic protest and performance work happening in these places. Together, the efforts of Twin Cities, Portland, and French activists and artists showcase how, against a backdrop of mourning and anxiety, the pandemic has been a time of invigoration in mass protest, mutual aid, and coming together to try to build better worlds.
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Pub Date : 2021-09-01DOI: 10.1017/S0040557421000338
K. Jacobson
in original. 10 See Bruno Latour, “Why Has Critique Run out of Steam? From Matters of Fact to Matters of Concern,” Critical Inquiry 30.2 (2004): 225–48. 11 Academic debate about this term was triggered by Rustom Bharucha’s essay “Notes on the Invention of Tradition” in his Theatre and the World: Performance and the Politics of Culture (1990; London: Routledge, 1993), 193–211. 12 Dipesh Chakrabarty, Provincializing Europe: Postcolonial Thought and Historical Difference (2000; new ed., Princeton: Princeton University Press, 2007). 13 These comments are from a podcast of 2018 based on a lecture at Australian National University; see “The Knowledge We Value: Dipesh Chakrabarty Talks the Contentious Politics of Knowledge Production,” The Familiar Strange, 4 February 2018, https://thefamiliarstrange.com/2018/02/04/ep-7-dipesh-chakrabarty/, accessed 17 May 2021. 14 Bernard S. Cohn, “History and Anthropology: The State of Play,” Comparative Studies in Society and History 22.2 (1980): 198–221. 15 John London, “The Uncertainty of Fascist Aesthetics: Political Ideology and Historical Reality,” Culture, Theory and Critique 42.1 (1999): 49–63, at 53. 16 Dipesh Chakrabarty, “The Climate of History: Four Theses,” Critical Inquiry 35.2 (2009): 197–222. For a pioneering essay in theatre studies, see Bruce McConachie, “Ethics, Evolution, Ecology, and Performance,” in Readings in Performance and Ecology, ed. Wendy Arons and Theresa J. May (New York: Palgrave Macmillan, 2012), 91–100. The topic is placed on the international theatre studies agenda in Lisa Woynarski et al., “Dossier: Climate Change and the Decolonized Future of Theatre,” Theatre Research International 45.2 (2020): 179–208. 17 See What Is Adaptive about Adaptive Memory?, ed. Bennett L. Schwartz et al. (Oxford: Oxford University Press, 2014). 18 Paul Stoller, Sensuous Scholarship (Philadelphia: University of Pennsylvania Press, 1997), xvi. 19 Robin Nelson, “Practice-as-Research and the Problem of Knowledge,” Performance Research 11.4 (2006): 105–16.
在原始的。10参见布鲁诺·拉图尔的《为什么批评会失去动力?》《从事实问题到关注问题》，《批判性探究》30.2(2004):225-48页。11关于这一术语的学术争论是由Rustom Bharucha在他的《戏剧与世界:表演与文化政治》(1990;伦敦:劳特利奇出版社，1993)，193-211。12迪佩什·查克拉巴蒂:《欧洲化:后殖民思想与历史差异》，2000;新版，普林斯顿:普林斯顿大学出版社，2007年)。这些评论来自2018年的一个播客，基于澳大利亚国立大学的一次讲座;见“我们重视的知识:迪佩什·查克拉巴蒂谈知识生产的争议政治”，《熟悉的陌生》，2018年2月4日，https://thefamiliarstrange.com/2018/02/04/ep-7-dipesh-chakrabarty/， 2021年5月17日访问。14 Bernard S. Cohn，“历史与人类学:游戏的状态”，《社会与历史比较研究》22.2(1980):198-221。15约翰·伦敦，“法西斯美学的不确定性:政治意识形态与历史现实”，《文化理论与批判》，1999年第4期，第49-63页，第53页。16迪佩什·查克拉巴蒂，“历史的气候:四个论点”，《批判研究》35.2(2009):197-222。关于戏剧研究的开创性文章，见布鲁斯·麦科纳奇，“伦理、进化、生态和表演”，见《表演与生态学读本》，温迪·阿隆斯和特蕾莎·j·梅主编(纽约:帕尔格雷夫·麦克米伦出版社，2012)，第91-100页。该主题被放在国际戏剧研究议程上Lisa Woynarski等人，“档案:气候变化和戏剧的非殖民化未来”，国际戏剧研究45.2(2020):179-208。17参见适应性记忆的适应性是什么?贝内特L.施瓦茨等人编(牛津:牛津大学出版社，2014)。18保罗·斯托勒，感官奖学金(费城:宾夕法尼亚大学出版社，1997年)，16。19 Robin Nelson，“实践即研究和知识问题”，《绩效研究》11.4(2006):105-16。
{"title":"Playing Real: Mimesis, Media, and Mischief By Lindsay Brandon Hunter. Evanston, IL: Northwestern University Press, 2021; pp. xxiv + 162, 1 illustration. $99.95 cloth, $34.95 paper, $34.95 e-book.","authors":"K. Jacobson","doi":"10.1017/S0040557421000338","DOIUrl":"https://doi.org/10.1017/S0040557421000338","url":null,"abstract":"in original. 10 See Bruno Latour, “Why Has Critique Run out of Steam? From Matters of Fact to Matters of Concern,” Critical Inquiry 30.2 (2004): 225–48. 11 Academic debate about this term was triggered by Rustom Bharucha’s essay “Notes on the Invention of Tradition” in his Theatre and the World: Performance and the Politics of Culture (1990; London: Routledge, 1993), 193–211. 12 Dipesh Chakrabarty, Provincializing Europe: Postcolonial Thought and Historical Difference (2000; new ed., Princeton: Princeton University Press, 2007). 13 These comments are from a podcast of 2018 based on a lecture at Australian National University; see “The Knowledge We Value: Dipesh Chakrabarty Talks the Contentious Politics of Knowledge Production,” The Familiar Strange, 4 February 2018, https://thefamiliarstrange.com/2018/02/04/ep-7-dipesh-chakrabarty/, accessed 17 May 2021. 14 Bernard S. Cohn, “History and Anthropology: The State of Play,” Comparative Studies in Society and History 22.2 (1980): 198–221. 15 John London, “The Uncertainty of Fascist Aesthetics: Political Ideology and Historical Reality,” Culture, Theory and Critique 42.1 (1999): 49–63, at 53. 16 Dipesh Chakrabarty, “The Climate of History: Four Theses,” Critical Inquiry 35.2 (2009): 197–222. For a pioneering essay in theatre studies, see Bruce McConachie, “Ethics, Evolution, Ecology, and Performance,” in Readings in Performance and Ecology, ed. Wendy Arons and Theresa J. May (New York: Palgrave Macmillan, 2012), 91–100. The topic is placed on the international theatre studies agenda in Lisa Woynarski et al., “Dossier: Climate Change and the Decolonized Future of Theatre,” Theatre Research International 45.2 (2020): 179–208. 17 See What Is Adaptive about Adaptive Memory?, ed. Bennett L. Schwartz et al. (Oxford: Oxford University Press, 2014). 18 Paul Stoller, Sensuous Scholarship (Philadelphia: University of Pennsylvania Press, 1997), xvi. 19 Robin Nelson, “Practice-as-Research and the Problem of Knowledge,” Performance Research 11.4 (2006): 105–16.","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"62 1","pages":"374 - 376"},"PeriodicalIF":0.2,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0040557421000338","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47522881","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/S0040557421000351
Winter Phong
{"title":"Starring Women: Celebrity, Patriarchy, and American Theater, 1790–1850 By Sara E. Lampert. Urbana: University of Illinois Press, 2020; pp. xi + 276, 19 illustrations. $110 cloth, $28 paper, $19.95 e-book.","authors":"Winter Phong","doi":"10.1017/S0040557421000351","DOIUrl":"https://doi.org/10.1017/S0040557421000351","url":null,"abstract":"","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"62 1","pages":"378 - 380"},"PeriodicalIF":0.2,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1017/S0040557421000351","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41762834","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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