Pub Date : 2023-10-26DOI: 10.1017/s0040557423000182
Nicole Jerr
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{"title":"Baroque Modernity: An Aesthetics of Theater By Joseph Cermatori. Hopkins Studies in Modernism. Baltimore: Johns Hopkins University Press, 2021; pp. xxii + 298, 10 illustrations. $37 paper, $37 e-book.","authors":"Nicole Jerr","doi":"10.1017/s0040557423000182","DOIUrl":"https://doi.org/10.1017/s0040557423000182","url":null,"abstract":"An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"54 3","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136382008","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 : 2023-10-26DOI: 10.1017/s0040557423000200
Chenxi Tang
Law as Performance: Theatricality, Spectatorship, and the Making of Law in Ancient, Medieval, and Early Modern Europe By Julie Stone Peters. Law and Literature. Oxford: Oxford University Press, 2022; xv + 350, 27 illustrations. $115 cloth.
{"title":"Law as Performance: Theatricality, Spectatorship, and the Making of Law in Ancient, Medieval, and Early Modern Europe By Julie Stone Peters. Law and Literature. Oxford: Oxford University Press, 2022; xv + 350, 27 illustrations. $115 cloth.","authors":"Chenxi Tang","doi":"10.1017/s0040557423000200","DOIUrl":"https://doi.org/10.1017/s0040557423000200","url":null,"abstract":"Law as Performance: Theatricality, Spectatorship, and the Making of Law in Ancient, Medieval, and Early Modern Europe By Julie Stone Peters. Law and Literature. Oxford: Oxford University Press, 2022; xv + 350, 27 illustrations. $115 cloth.","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"122 10","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136382002","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 : 2023-10-26DOI: 10.1017/s0040557423000224
Chelsea Phillips
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
此内容的摘要不可用，因此提供了预览。有关如何访问此内容的信息，请使用上面的获取访问链接。
{"title":"Women in Wartime: Theatrical Representations in the Long Eighteenth Century By Paula R. Backscheider. Baltimore: Johns Hopkins University Press, 2022; pp. xv + 438, 12 illustrations. $102 hardcover; $37 paper; $37 e-book.","authors":"Chelsea Phillips","doi":"10.1017/s0040557423000224","DOIUrl":"https://doi.org/10.1017/s0040557423000224","url":null,"abstract":"An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136382001","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 : 2023-05-01DOI: 10.1017/S0040557423000121
Joy Palacios
For French theatre history, the seventeenth century paradoxically stands out as both the Grand Siècle, or golden age, in which Pierre Corneille, Molière, and Jean Racine produced their masterpieces, and as a period of intense antitheatrical sentiment in which Jansenist theologians like Pierre Nicole and Catholic bishops like Jacques-Bénigne Bossuet composed treatises against the stage and its players. French historiographers have given the name la querelle de la moralité du théâtre, or the quarrel over the theatre's morality, to the diverse episodes that called into question the theatre's place in public life in prerevolutionary France.1 This quarrel merits a performance analysis. Whereas theatre scholarship has devoted careful attention to the material features of early modern theatre practice, antitheatrical sentiment's story has largely been told as a progression of ideas.2 In works that remain essential reading, scholars such as Moses Barras, Marc Fumaroli, Jonas Barish, Simone de Reyff, Jean Dubu, Sylviane Léoni, and Laurent Thirouin have examined the rise and development of French arguments against the stage, reconstructing French antitheatrical sentiment's intellectual history from antiquity through the French Revolution.3 As demonstrated by titles such as Dubu's Les Églises chrétiennes et le théâtre [Christian churches and the theatre] and de Reyff's L’Église et le théâtre [the church and the theatre], enough of the period's antitheatrical fervor had religious roots that French theatre polemics are often also conceptualized as a conflict between the church and the theatre.
在法国戏剧史上，矛盾的是，17世纪既是大舞台，又是黄金时代，皮埃尔·科尼耶、莫里哀和让·拉辛在这一时期创作了他们的杰作，在这一时期，像皮埃尔·妮可这样的詹森派神学家和像雅克斯·贝尼根·博苏特这样的天主教主教撰写了反对舞台及其演奏者的论文。法国历史学家将“剧院道德之争”（la querelle de la morratédu théâtre）或“关于剧院道德的争论”命名为各种各样的事件，这些事件使人们质疑剧院在进化前的法国公共生活中的地位。1这场争论值得进行表演分析。尽管戏剧学术界对早期现代戏剧实践的物质特征给予了谨慎的关注，但反戏剧情感的故事在很大程度上被视为一种思想的发展，Laurent Thirouin研究了法国反对舞台的论点的兴起和发展，重建法国从古代到法国大革命的对立情感的知识史。3正如杜布的《基督教堂与剧院》和德·雷夫的《教堂与剧院，这一时期的反派热情有足够多的宗教根源，以至于法国戏剧论战也经常被概念化为教会和戏剧之间的冲突。
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Pub Date : 2023-05-01DOI: 10.1017/s004055742300011x
As with many in our field, I did not fall in love with theatre through the written word. I became enraptured with theatre—its history, influence, and ephemerality —through performance. As a child, I remember watching actors use their bodies to make an idea, quality, or feeling tangible to the audience. By middle school, I decided to try my hand at creating a performance. I convinced four of my younger sisters and niece to form an acting troupe and perform Anton Chekhov’s one-act comedy The Bear (1888) for our neighborhood. As an eleven-year-old selfappointed producer, director, and company member, I quickly learned that I was in over my head. How can I mount a show with a limited budget of five dollars? How can I persuade my sisters to stay involved in the production even though I can’t make good on my promise of paying them? How can I help my four-year-old niece memorize lines when she could not read? After trying to problem-solve, I realized I had no other choice but to cancel the production and disperse what remained of my acting troupe. I share this silly personal anecdote because, in all seriousness, this early experience creating an amateur production served as a foundation for my knowledge of performance (broadly construed) and its opposition. Performance is messy, ephemeral in nature, and relies heavily on the devotion and commitment of artists and spectators to make vision a reality. Whether investigating antitheatrical tracts of the seventeenth century, early Black women musical performers, the reality in materiality of Sherlock Holmes, or Germany’s agitprop amateur theatre movement of the twentieth century, the articles in this issue engage with the complexities of creating or disavowing live performance, encouraging readers to consider the oppositional forces that both hinder and sustain craft. Joy Palacios considers how the embodied activities of seventeenth-century Catholic priests fostered the growth of antitheatrical sentiments alongside the Grand Siècle, or golden age, of French theatre. In “Antitheatrical Prejudice: From Parish Priests to Diocesan Rituals in Early Modern France,” Palacios argues that in addition to writing, the Catholic church utilized what performance and theatre scholars would consider a “performance repertoire” to circulate theological ideas, values, and arguments to the laity. Paradoxically, the use of performance repertoire—including the bodily comportment of priests and the gestures, ceremonies, and sacraments that made up the liturgy—helped situate actors as “public sinners” and theatre as a site of moral decay. Ultimately, Palacios finds that without ceremonial support to bring life into their argument, antitheatrical texts would have remained nothing more than “dead letters.” By exploring the (often overlooked)
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Pub Date : 2023-05-01DOI: 10.1017/S0040557423000029
Yizhou Huang
modern culture in Europe and, in doing so, historicize racializing apparatuses that continue to undergird the injustices of our modern world. Ndiaye’s emphasis on the racist scripts of early modern transnational performance and Chakravarty’s analysis of fictions of consent in the bonds that oppress represent something fundamental about premodern critical race studies. They reach beyond the conventional paradigms of academic research because those paradigms were designed to protect and obscure the very apparatuses this research seeks to dismantle. In this way, their scholarly contributions exemplify the interventions of the RaceB4Race initiative, which seeks to nurture a “community of scholars, students, researchers, theater practitioners, curators, librarians, artists, and activists who are looking to the past to imagine different, more inclusive futures” [https://acmrs.asu.edu/ RaceB4Race/Sustaining-Building-Innovating]. These two books are part of an intellectual revolution committed to racial justice: curation that critiques, historicity that matters, and race work that is antiracist.
{"title":"Made-Up Asians: Yellowface during the Exclusion Era By Esther Kim Lee. Ann Arbor: University of Michigan Press, 2022; pp. xiii + 268, 23 illustrations. $85.00 cloth, $34.95 paper, $34.95 e-book.","authors":"Yizhou Huang","doi":"10.1017/S0040557423000029","DOIUrl":"https://doi.org/10.1017/S0040557423000029","url":null,"abstract":"modern culture in Europe and, in doing so, historicize racializing apparatuses that continue to undergird the injustices of our modern world. Ndiaye’s emphasis on the racist scripts of early modern transnational performance and Chakravarty’s analysis of fictions of consent in the bonds that oppress represent something fundamental about premodern critical race studies. They reach beyond the conventional paradigms of academic research because those paradigms were designed to protect and obscure the very apparatuses this research seeks to dismantle. In this way, their scholarly contributions exemplify the interventions of the RaceB4Race initiative, which seeks to nurture a “community of scholars, students, researchers, theater practitioners, curators, librarians, artists, and activists who are looking to the past to imagine different, more inclusive futures” [https://acmrs.asu.edu/ RaceB4Race/Sustaining-Building-Innovating]. These two books are part of an intellectual revolution committed to racial justice: curation that critiques, historicity that matters, and race work that is antiracist.","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"64 1","pages":"229 - 231"},"PeriodicalIF":0.2,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46344561","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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