Pub Date : 2022-05-01DOI: 10.1017/S0040557422000175
E. Turley
with an Executioner) in Chapter 9, “Archive of the Missing Image”; and, from the post-Jedwabne era, Tadeusz Słobodianek’s Nasza Klasa (Our Class) and Krzysztof Warlikowski’s (A)pollonia inChapter 10, “Duplicitous Spectator,Helpless Spectator.” The Polish Theatre of the Holocaust joins a limited but growing number of English-language texts that examine Polish theatre as a broad subject, both chronologically and generically. Niziołek’s study provides English-language readership an impressive exploration of the specificities of postwar Polish spectatorship, with audiences confronted by a wide range of performances that cut through the symbolic norms of Polish wartime narratives. For readers coming to this work without advanced knowledge of Polish postwar realities and cultural makeup, the book would work best as a whole; the second part of the book relies upon the deep contextual understanding of Polish positionality founded in the first chapters. Chapters in the second part of the book more quickly address theatrical takeaways without dedicating much space to rehashing the historical or political specificities of the moment. That said, the whole text is well worth reading, and presents numerous lesser-known or less critically evaluated theatrical explorations at the intersection of Polishness and Jewishness in the postwar moment.
{"title":"The Drama of History: Ibsen, Hegel, and Nietzsche By Kristin Gjesdal. Oxford University Press. Oxford: United Kingdom, 2020; pp. xvii + 219, 8 illustrations. $74 cloth.","authors":"E. Turley","doi":"10.1017/S0040557422000175","DOIUrl":"https://doi.org/10.1017/S0040557422000175","url":null,"abstract":"with an Executioner) in Chapter 9, “Archive of the Missing Image”; and, from the post-Jedwabne era, Tadeusz Słobodianek’s Nasza Klasa (Our Class) and Krzysztof Warlikowski’s (A)pollonia inChapter 10, “Duplicitous Spectator,Helpless Spectator.” The Polish Theatre of the Holocaust joins a limited but growing number of English-language texts that examine Polish theatre as a broad subject, both chronologically and generically. Niziołek’s study provides English-language readership an impressive exploration of the specificities of postwar Polish spectatorship, with audiences confronted by a wide range of performances that cut through the symbolic norms of Polish wartime narratives. For readers coming to this work without advanced knowledge of Polish postwar realities and cultural makeup, the book would work best as a whole; the second part of the book relies upon the deep contextual understanding of Polish positionality founded in the first chapters. Chapters in the second part of the book more quickly address theatrical takeaways without dedicating much space to rehashing the historical or political specificities of the moment. That said, the whole text is well worth reading, and presents numerous lesser-known or less critically evaluated theatrical explorations at the intersection of Polishness and Jewishness in the postwar moment.","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"63 1","pages":"252 - 254"},"PeriodicalIF":0.2,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41566801","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 : 2022-05-01DOI: 10.1017/S0040557422000163
R. Moss
{"title":"The Polish Theatre of the Holocaust By Grzegorz Niziołek. Translated by Ursula Phillips. Cultural Histories of Theatre and Performance. London: Methuen Drama, 2019; pp. xii + 308, 63 illustrations. $115 cloth, $34.95 paper, $31.45 e-book.","authors":"R. Moss","doi":"10.1017/S0040557422000163","DOIUrl":"https://doi.org/10.1017/S0040557422000163","url":null,"abstract":"","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"63 1","pages":"250 - 252"},"PeriodicalIF":0.2,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42587756","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 : 2022-05-01DOI: 10.1017/S0040557422000096
Craig Jennex
series is significant. This is a book of theatre historiography that examines some of the foundational concepts of musical theatre in the United States. It is worth noting, however, that this book’s subtitle also promises Rogers will analyze “the politics of bursting into song and dance.” The Song Is You is a historiographical text to be sure, but for Rogers the work of writing history is also the work of exploring how audiences identify with musical theatre performances and how musicals ask us to imitate, desire, and possess the bodies of others, especially those whose experiences we perceive as different from our own. These are political questions, and The Song Is You is a necessary and exciting exploration of these politics, filled with insights and provocations that promise to push the field in important new directions.
{"title":"In Concert: Performing Musical Persona By Philip Auslander. Ann Arbor: University of Michigan Press, 2021; pp. x + 293, 22 illustrations. $90 cloth, $39.95 paper, $39.95 e-book.","authors":"Craig Jennex","doi":"10.1017/S0040557422000096","DOIUrl":"https://doi.org/10.1017/S0040557422000096","url":null,"abstract":"series is significant. This is a book of theatre historiography that examines some of the foundational concepts of musical theatre in the United States. It is worth noting, however, that this book’s subtitle also promises Rogers will analyze “the politics of bursting into song and dance.” The Song Is You is a historiographical text to be sure, but for Rogers the work of writing history is also the work of exploring how audiences identify with musical theatre performances and how musicals ask us to imitate, desire, and possess the bodies of others, especially those whose experiences we perceive as different from our own. These are political questions, and The Song Is You is a necessary and exciting exploration of these politics, filled with insights and provocations that promise to push the field in important new directions.","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"63 1","pages":"235 - 237"},"PeriodicalIF":0.2,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47826064","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/S0040557421000466
Brian Jansen
{"title":"Professional Wrestling and the Commercial Stage By Eero Laine. Routledge Advances in Theatre and Performance Studies. New York: Routledge, 2020; pp. viii + 148. $160 cloth, $48.95 paper, $48.95 e-book.","authors":"Brian Jansen","doi":"10.1017/S0040557421000466","DOIUrl":"https://doi.org/10.1017/S0040557421000466","url":null,"abstract":"","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"63 1","pages":"122 - 124"},"PeriodicalIF":0.2,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43288169","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/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}
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