Pub Date : 2022-12-22DOI: 10.1017/s0040557422000369
Kristina Straub
ture and live theatre. Works interpreted include Douglas Turner Ward’s Day of Absence, a play inspired by 1950s bus boycott images that features a sci-fi plot about a white town amid the major emergency of Black disappearance. Fleming conceptualizes “white impatience” as central to the making of whiteness and Black patience and proposes that the ephemeral, multiperceptual form of theatre “disrupt [s] the racial conventions of visual modernity” (183). Fleming’s Black Patience is a magnificent, much-needed inquiry of civil-rights-era theatrical history. Engaging in depth with scripts, letters, maps, photographs, and newspapers, Fleming rigorously works across fields of theatre history (including African American theatre), performance studies, Black studies, and theatre for social change. Fleming reminds us to center Afro-presentism—onand offstage—to unearth forms that confront Black patience and champion freedom for Black people now.
{"title":"Carrying All before Her: Celebrity Pregnancy and the London Stage, 1689–1800 By Chelsea Phillips. Newark, NJ: University of Delaware Press, 2022; pp. xiv + 287. $120.00 cloth, $34.95 paper, $38.95 e-book.","authors":"Kristina Straub","doi":"10.1017/s0040557422000369","DOIUrl":"https://doi.org/10.1017/s0040557422000369","url":null,"abstract":"ture and live theatre. Works interpreted include Douglas Turner Ward’s Day of Absence, a play inspired by 1950s bus boycott images that features a sci-fi plot about a white town amid the major emergency of Black disappearance. Fleming conceptualizes “white impatience” as central to the making of whiteness and Black patience and proposes that the ephemeral, multiperceptual form of theatre “disrupt [s] the racial conventions of visual modernity” (183). Fleming’s Black Patience is a magnificent, much-needed inquiry of civil-rights-era theatrical history. Engaging in depth with scripts, letters, maps, photographs, and newspapers, Fleming rigorously works across fields of theatre history (including African American theatre), performance studies, Black studies, and theatre for social change. Fleming reminds us to center Afro-presentism—onand offstage—to unearth forms that confront Black patience and champion freedom for Black people now.","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"64 1","pages":"93 - 95"},"PeriodicalIF":0.2,"publicationDate":"2022-12-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42872125","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 : 2022-12-21DOI: 10.1017/s0040557422000412
Ryan Helterbrand
With the dramatic global resurgence of far-Right politics, it behooves critics to come to terms with the legacies of Fascism and its relationship to cultural production. How did Mussolini attempt to guide or co-opt theatre for his own purposes? Many scholars have followed Walter Benjamin in arguing that Fascism aestheticized politics, that Mussolini himself used the actor’s art to become a character in his own political play, that ultimately “the fascist mode was inherently performative, irrational, and coercive” (7). But, as Patricia Gaborik argues in her carefully argued and impressively documented Mussolini’s Theatre: Fascist Experiments in Art and Politics, this focus on Fascism as an aestheticized political experiment neglects the actual situation of the theatre under Mussolini, acting “as if what was produced on stage doesn’t actually matter—as if, that is, when it comes to fascism, art is not an issue” (12). What if, instead of assuming that all theatrical productions under Mussolini were only—could only be—so many forms of propaganda, we look instead at what was actually produced during the ventennio? Gaborik shows that theatre under Mussolini was more complicated than we’ve imagined. Although some plays produced under Fascism toed the party line, most did not, nor were they punished for it. In fact, a kind of strategic aestheticism reigned: Mussolini consistently demonstrated a commitment to art “that went beyond the tactical” and elevated “spiritual valor over immediate propagandistic efficacy” (19). Why? Because, Gaborik argues, Mussolini approached the theatre in two complementary ways that highlighted his “faith in culture as a revolutionary tool” (45). First, he kept the theatre relatively free to demonstrate the alleged openness of his regime, to demonstrate that artists in Fascist Italy were free to follow their genius. Here he followed a strategy of diplomacy, recognizing that theatre
{"title":"Mussolini's Theatre: Fascist Experiments in Art and Politics By Patricia Gaborik. Cambridge: Cambridge University Press, 2021; pp. xiii + 312, 20 illustrations, 13 tables. $39.99 cloth, $32 e-book.","authors":"Ryan Helterbrand","doi":"10.1017/s0040557422000412","DOIUrl":"https://doi.org/10.1017/s0040557422000412","url":null,"abstract":"With the dramatic global resurgence of far-Right politics, it behooves critics to come to terms with the legacies of Fascism and its relationship to cultural production. How did Mussolini attempt to guide or co-opt theatre for his own purposes? Many scholars have followed Walter Benjamin in arguing that Fascism aestheticized politics, that Mussolini himself used the actor’s art to become a character in his own political play, that ultimately “the fascist mode was inherently performative, irrational, and coercive” (7). But, as Patricia Gaborik argues in her carefully argued and impressively documented Mussolini’s Theatre: Fascist Experiments in Art and Politics, this focus on Fascism as an aestheticized political experiment neglects the actual situation of the theatre under Mussolini, acting “as if what was produced on stage doesn’t actually matter—as if, that is, when it comes to fascism, art is not an issue” (12). What if, instead of assuming that all theatrical productions under Mussolini were only—could only be—so many forms of propaganda, we look instead at what was actually produced during the ventennio? Gaborik shows that theatre under Mussolini was more complicated than we’ve imagined. Although some plays produced under Fascism toed the party line, most did not, nor were they punished for it. In fact, a kind of strategic aestheticism reigned: Mussolini consistently demonstrated a commitment to art “that went beyond the tactical” and elevated “spiritual valor over immediate propagandistic efficacy” (19). Why? Because, Gaborik argues, Mussolini approached the theatre in two complementary ways that highlighted his “faith in culture as a revolutionary tool” (45). First, he kept the theatre relatively free to demonstrate the alleged openness of his regime, to demonstrate that artists in Fascist Italy were free to follow their genius. Here he followed a strategy of diplomacy, recognizing that theatre","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"64 1","pages":"104 - 106"},"PeriodicalIF":0.2,"publicationDate":"2022-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42886897","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 : 2022-12-21DOI: 10.1017/s0040557422000370
Olga S. Partan
actresses Phillips examines in previous chapters. A short Conclusion follows up with productive comparisons between past and present celebrity pregnancies. Phillips gives us more than the usual “learn from the past” history-teacher didactics, however; she reinforces the importance of taking seriously celebrity as a cultural indicator of what matters then and now. She also gives us a methodology for reading archival evidence of past celebrity performances alongside the ephemeral performances and archival data of the present. Anchoring our readings of both archive and performance in the functions and needs of the human body, Phillips claims that“[t]he essential needs of the reproducing body— space, access, rest—have not changed, and embodied experience today can inform our sense of its history” (216). This is not to say that Phillips essentializes the reproductive female body; rather, she reads it as a part of the complex workings we call culture. Phillips reveals an eighteenth-century theatre industry that assumed their female stars would be pregnant at times during their careers and adjusted to that fact, offering women paid time off, shorter hours, and generally what we might today call accommodations. These conditions make the present working conditions of women in theatre, as Phillips summarizes them, look pretty lousy. The body— including that troublesome body part, the uterus—is integral to what Tschida calls the “life or well-being” of women, not just as childbearers, but as workers. This book makes it clear that how we attend to the body and its needs is not just a matter of individual well-being. It is also integral to the health of the body politic.
{"title":"Three Loves for Three Oranges: Gozzi, Meyerhold, Prokofiev Edited by Dassia N. Posner and Kevin Bartig with Maria De Simone. Russian Music Studies. Bloomington: Indiana University Press, 2021; pp. xxxi + 427, 61 illustrations. $50 cloth, $49.99 e-book.","authors":"Olga S. Partan","doi":"10.1017/s0040557422000370","DOIUrl":"https://doi.org/10.1017/s0040557422000370","url":null,"abstract":"actresses Phillips examines in previous chapters. A short Conclusion follows up with productive comparisons between past and present celebrity pregnancies. Phillips gives us more than the usual “learn from the past” history-teacher didactics, however; she reinforces the importance of taking seriously celebrity as a cultural indicator of what matters then and now. She also gives us a methodology for reading archival evidence of past celebrity performances alongside the ephemeral performances and archival data of the present. Anchoring our readings of both archive and performance in the functions and needs of the human body, Phillips claims that“[t]he essential needs of the reproducing body— space, access, rest—have not changed, and embodied experience today can inform our sense of its history” (216). This is not to say that Phillips essentializes the reproductive female body; rather, she reads it as a part of the complex workings we call culture. Phillips reveals an eighteenth-century theatre industry that assumed their female stars would be pregnant at times during their careers and adjusted to that fact, offering women paid time off, shorter hours, and generally what we might today call accommodations. These conditions make the present working conditions of women in theatre, as Phillips summarizes them, look pretty lousy. The body— including that troublesome body part, the uterus—is integral to what Tschida calls the “life or well-being” of women, not just as childbearers, but as workers. This book makes it clear that how we attend to the body and its needs is not just a matter of individual well-being. It is also integral to the health of the body politic.","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"64 1","pages":"95 - 97"},"PeriodicalIF":0.2,"publicationDate":"2022-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46845472","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 : 2022-12-21DOI: 10.1017/s0040557422000400
Noe Montez
Many contemporary Latin American theatre artists are drawing from documentary theatre traditions to make the effects of neoliberal economic policies, uneasy transitions from dictatorship, and other structural inequities legible to domestic and international audiences. Paola S. Hernández creates a compelling snapshot of this moment in her thoroughly researched book, Staging Lives in Latin American Theater: Bodies, Objects, Archives. Hernández centers her monograph around the practices of four of Latin America’s most notable and studied artists (Vivi Tellas, Lola Arias, El Teatro Línea de Sombra, and Guillermo Calderón) in order to consider the ways that they use “the affective hold of the real” to “transform private and public memories, modes of participation, and the kinds of truth claims theater can make” (2). Each of the artists featured use biographical narratives and archival materials to explore how the use of material objects and personal narratives can complicate an understanding of the past. Hernández situates herself as part of academic lineages that are attentive to Latin American theatre of the twenty-first century, memory studies, and the emergence of innovative documentary practices in theatres across the globe. The book nicely threads the needle between focusing on the local political and cultural contexts in which the artists make their work and the ways the performances are received when presented internationally. Moreover, Hernández has a keen eye for the details of production, describing the performances and the artists’ interactions with material objects onstage in a way that brings readers, who may not have seen these works staged, into a deeper understanding of those performances. The book begins with an analysis of playwright, director, and producer Vivi Tellas’s biodramas, particularly her Proyecto Archivos, which highlights Tellas’s
许多当代拉丁美洲戏剧艺术家正在借鉴纪实戏剧传统，让国内外观众都能清楚地看到新自由主义经济政策、独裁政权的不稳定过渡以及其他结构性不平等的影响。Paola S.Hernández在她深入研究的书《拉丁美洲剧院的舞台生活：身体、物体、档案》中为这一时刻创造了一个引人注目的快照。Hernández的专著围绕着四位拉丁美洲最著名和最受研究的艺术家（Vivi Tellas、Lola Arias、El Teatro Línea de Sombra和Guillermo Calderón）的实践展开，以思考他们如何利用“真实的情感把握”来“改变私人和公共记忆、参与模式以及剧院可以做出的真相声明”（2）每一位艺术家都使用传记叙事和档案材料来探索实物和个人叙事的使用如何使对过去的理解复杂化。埃尔南德斯将自己定位为关注21世纪拉丁美洲戏剧、记忆研究以及全球剧院创新纪录片实践的学术谱系的一部分。这本书很好地在关注艺术家创作作品的当地政治和文化背景以及在国际上表演时受到欢迎的方式之间穿针引线。此外，埃尔南德斯对制作细节有着敏锐的洞察力，他描述了表演以及艺术家在舞台上与实物的互动，让可能没有看过这些作品的读者对这些表演有了更深的理解。这本书首先分析了剧作家、导演和制片人Vivi Tellas的生物模型，特别是她的Proyecto Archivos，其中突出了Tellas的
{"title":"Staging Lives in Latin American Theater: Bodies, Objects, Archives By Paola S. Hernández. Evanston, IL: Northwestern University Press, 2022; pp. viii + 219, 13 illustrations. $99.95 cloth, $34.95 paper, $34.95 e-book.","authors":"Noe Montez","doi":"10.1017/s0040557422000400","DOIUrl":"https://doi.org/10.1017/s0040557422000400","url":null,"abstract":"Many contemporary Latin American theatre artists are drawing from documentary theatre traditions to make the effects of neoliberal economic policies, uneasy transitions from dictatorship, and other structural inequities legible to domestic and international audiences. Paola S. Hernández creates a compelling snapshot of this moment in her thoroughly researched book, Staging Lives in Latin American Theater: Bodies, Objects, Archives. Hernández centers her monograph around the practices of four of Latin America’s most notable and studied artists (Vivi Tellas, Lola Arias, El Teatro Línea de Sombra, and Guillermo Calderón) in order to consider the ways that they use “the affective hold of the real” to “transform private and public memories, modes of participation, and the kinds of truth claims theater can make” (2). Each of the artists featured use biographical narratives and archival materials to explore how the use of material objects and personal narratives can complicate an understanding of the past. Hernández situates herself as part of academic lineages that are attentive to Latin American theatre of the twenty-first century, memory studies, and the emergence of innovative documentary practices in theatres across the globe. The book nicely threads the needle between focusing on the local political and cultural contexts in which the artists make their work and the ways the performances are received when presented internationally. Moreover, Hernández has a keen eye for the details of production, describing the performances and the artists’ interactions with material objects onstage in a way that brings readers, who may not have seen these works staged, into a deeper understanding of those performances. The book begins with an analysis of playwright, director, and producer Vivi Tellas’s biodramas, particularly her Proyecto Archivos, which highlights Tellas’s","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"64 1","pages":"102 - 104"},"PeriodicalIF":0.2,"publicationDate":"2022-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47956109","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 : 2022-12-21DOI: 10.1017/S0040557422000436
Joseph R. D’Ambrosi
In Feeling the Future, Stevenson studies modern Evangelical end-time productions linked to churches and other religious organizations throughout the United States to demonstrate how these immersive performances construct deeply felt anxiety about future time within its viewers for specific aims: to save one's own soul and that of another, and to remain vigilant and prepared for the inevitable end times. In her Introduction, "Seeking an End,” Stevenson outlines Western Christian eschatological history before discussing modern Evangelical performances that foster future time. According to the creators of these experiences, producing anxiety about the future leads people to make better choices in their day-to-day lives as they prepare for the end.
{"title":"Feeling the Future at Christian End-Time Performances By Jill Stevenson. Ann Arbor: University of Michigan Press, 2022; pp. xii + 230, 7 illustrations. $75 cloth, $59.95 e-book.","authors":"Joseph R. D’Ambrosi","doi":"10.1017/S0040557422000436","DOIUrl":"https://doi.org/10.1017/S0040557422000436","url":null,"abstract":"In Feeling the Future, Stevenson studies modern Evangelical end-time productions linked to churches and other religious organizations throughout the United States to demonstrate how these immersive performances construct deeply felt anxiety about future time within its viewers for specific aims: to save one's own soul and that of another, and to remain vigilant and prepared for the inevitable end times. In her Introduction, \"Seeking an End,” Stevenson outlines Western Christian eschatological history before discussing modern Evangelical performances that foster future time. According to the creators of these experiences, producing anxiety about the future leads people to make better choices in their day-to-day lives as they prepare for the end.","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"64 1","pages":"108 - 110"},"PeriodicalIF":0.2,"publicationDate":"2022-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47980585","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 : 2022-12-20DOI: 10.1017/S0040557422000424
Karin Hallgren
at the time had some sort of censorship office—the difference here was “not in the matter but in the means” (156). Zurlo had to navigate not only the needs of the state but also Mussolini’s taste, which meant that censorship under Fascism was never as straightforward as it might seem from the outside. In a relatively liberal theatre-making environment, in which ideologically diverse plays were staged by myriad companies with divergent politics, only 9.4 percent of theatrical texts submitted to Zurlo were ultimately rejected. The picture that emerges is one of a censorship office engaged in a “relations-management task that went far beyond . . . ensuring orthodoxy in production” (162). While I would be curious about Mussolini’s attitude toward the historical avantgardes of futurism, dada, or surrealism—which all produced significant theatrical works during this period—I have nothing but praise for Gaborik’s work. It is carefully argued, engagingly written, exceptionally well documented, and full of surprising reversals of accepted wisdom. In letting the facts breathe and the history unfold before our eyes, Gaborik has produced an important work that will interest theatre scholars, art historians, and anyone curious about understanding not only how the interface between Fascism and art works, but also, perhaps, how to meet Fascism on this terrain in order to combat it.
{"title":"Performing Power: The Political Secrets of Gustav III (1771–1792) By Maria Berlova. Edited by Michael Kroetch. Abingdon: Routledge, 2021; pp. viii + 242. $136 cloth, $48.95 e-book.","authors":"Karin Hallgren","doi":"10.1017/S0040557422000424","DOIUrl":"https://doi.org/10.1017/S0040557422000424","url":null,"abstract":"at the time had some sort of censorship office—the difference here was “not in the matter but in the means” (156). Zurlo had to navigate not only the needs of the state but also Mussolini’s taste, which meant that censorship under Fascism was never as straightforward as it might seem from the outside. In a relatively liberal theatre-making environment, in which ideologically diverse plays were staged by myriad companies with divergent politics, only 9.4 percent of theatrical texts submitted to Zurlo were ultimately rejected. The picture that emerges is one of a censorship office engaged in a “relations-management task that went far beyond . . . ensuring orthodoxy in production” (162). While I would be curious about Mussolini’s attitude toward the historical avantgardes of futurism, dada, or surrealism—which all produced significant theatrical works during this period—I have nothing but praise for Gaborik’s work. It is carefully argued, engagingly written, exceptionally well documented, and full of surprising reversals of accepted wisdom. In letting the facts breathe and the history unfold before our eyes, Gaborik has produced an important work that will interest theatre scholars, art historians, and anyone curious about understanding not only how the interface between Fascism and art works, but also, perhaps, how to meet Fascism on this terrain in order to combat it.","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"64 1","pages":"106 - 108"},"PeriodicalIF":0.2,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48383204","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 : 2022-12-20DOI: 10.1017/s0040557422000357
J. Mahmoud
In the summer of 2022, residents of Jackson, Mississippi had been waiting more than a month to access clean water. Shocking (to some), this easily preventable infrastructural failure took place in Mississippi’s capital and most populous and majority-Black city. In Black Patience: Performance, Civil Rights, and the Unfinished Project of Emancipation, Julius B. Fleming Jr. theorizes the practice of making Black people wait for progress, full citizenship, and humanity. “This race-based structure of temporal violence,” he conceptualizes in the Introduction, “is black patience” (6). Rather than a virtue, Fleming etymologically excavates the Latin root of patience —“suffering,” a concept rarely theorized with attention to race (9–10)—to frame how from “slave ship” to “auction block” to “those who were inundated by calls to ‘go slow’ in the Civil Rights Movement, waiting has routinely been weaponized as a technology of anti-black violence and civic exclusion” (1). As the early 1960s temporally frame Black Patience, Fleming foregrounds Eisenhower’s 1950s presidency, during which millions of dollars were ushered to birth NASA while, concurrently, Eisenhower promoted waiting for racial progress; one 1958 newspaper headline read “Eisenhower Bids Negroes Be Patient about Rights” (7). Though Black Patience could exist primarily as an exacting work of political and critical theory, it instead flourishes in rich analyses of early 1960s Black theatrical practices that confront Black patience. Theatre artists, including Amiri Baraka, Duke Ellington, and Lorraine Hansberry, “used the theatrical stage to wrest black people from the violent enclosures of black patience” (38). Fleming also uncovers how civil rights activists engaged in dialogues with theatre’s epistemologies, such as Fannie Lou Hamer’s reaction to a 1964 production of Waiting for Godot in Ruleville, Mississippi: “You can’t sit around waiting” she told the audience at intermission (1). Thus, across Black Patience, Fleming deftly argues for what he coins Afro-presentism. This “radical structure of racial time” (26) was variously deployed
2022年夏天，密西西比州杰克逊的居民为了获得干净的水已经等了一个多月。令人震惊的是(对一些人来说)，这种本可预防的基础设施故障发生在密西西比州首府、人口最多、黑人占多数的城市。在《黑人的耐心:表现、民权和未完成的解放计划》一书中，小朱利叶斯·b·弗莱明将让黑人等待进步、完全公民权和人性的做法理论化。“这种基于种族的暂时暴力结构，”他在引言中概念化说，“是黑人的耐心”(6)。弗莱明从词源上挖掘了耐心的拉丁词根——“痛苦”，而不是一种美德。从“奴隶船”到“拍卖区”，再到“那些在民权运动中被‘慢慢来’的呼声淹没的人，等待已经被当作一种反黑人暴力和公民排斥的技术而经常被武器化”(1)。正如20世纪60年代初暂时勾勒出黑人耐心一样，弗莱明展望了艾森豪威尔50年代的总统任期，在此期间，数百万美元诞生了美国宇航局，同时，艾森豪威尔提倡等待种族进步;1958年的一份报纸的标题是“艾森豪威尔要求黑人对权利要有耐心”(7)。虽然《黑人的耐心》主要可以作为一部严格的政治和批评理论作品而存在，但它却因对20世纪60年代早期黑人戏剧实践的丰富分析而蓬勃发展。戏剧艺术家，包括Amiri Baraka, Duke Ellington和Lorraine Hansberry，“利用戏剧舞台将黑人从黑人耐心的暴力包围中解放出来”(38)。弗莱明还揭示了民权活动家是如何与戏剧的认识论进行对话的，比如芬妮·卢·哈默(Fannie Lou Hamer)对1964年在密西西比州鲁勒维尔上演的《等待戈多》(Waiting for Godot)的反应:“你不能坐着等待，”她在中场休息时对观众说。因此，在《黑人耐心》一书中，弗莱明巧妙地论证了他所创造的非洲当下主义。这种“种族时间的激进结构”(26)得到了各种各样的运用
{"title":"Black Patience: Performance, Civil Rights, and the Unfinished Project of Emancipation By Julius B. Fleming Jr. New York: New York University Press, 2022; pp. v + 301. $89 cloth, $29 paper, $29 e-book.","authors":"J. Mahmoud","doi":"10.1017/s0040557422000357","DOIUrl":"https://doi.org/10.1017/s0040557422000357","url":null,"abstract":"In the summer of 2022, residents of Jackson, Mississippi had been waiting more than a month to access clean water. Shocking (to some), this easily preventable infrastructural failure took place in Mississippi’s capital and most populous and majority-Black city. In Black Patience: Performance, Civil Rights, and the Unfinished Project of Emancipation, Julius B. Fleming Jr. theorizes the practice of making Black people wait for progress, full citizenship, and humanity. “This race-based structure of temporal violence,” he conceptualizes in the Introduction, “is black patience” (6). Rather than a virtue, Fleming etymologically excavates the Latin root of patience —“suffering,” a concept rarely theorized with attention to race (9–10)—to frame how from “slave ship” to “auction block” to “those who were inundated by calls to ‘go slow’ in the Civil Rights Movement, waiting has routinely been weaponized as a technology of anti-black violence and civic exclusion” (1). As the early 1960s temporally frame Black Patience, Fleming foregrounds Eisenhower’s 1950s presidency, during which millions of dollars were ushered to birth NASA while, concurrently, Eisenhower promoted waiting for racial progress; one 1958 newspaper headline read “Eisenhower Bids Negroes Be Patient about Rights” (7). Though Black Patience could exist primarily as an exacting work of political and critical theory, it instead flourishes in rich analyses of early 1960s Black theatrical practices that confront Black patience. Theatre artists, including Amiri Baraka, Duke Ellington, and Lorraine Hansberry, “used the theatrical stage to wrest black people from the violent enclosures of black patience” (38). Fleming also uncovers how civil rights activists engaged in dialogues with theatre’s epistemologies, such as Fannie Lou Hamer’s reaction to a 1964 production of Waiting for Godot in Ruleville, Mississippi: “You can’t sit around waiting” she told the audience at intermission (1). Thus, across Black Patience, Fleming deftly argues for what he coins Afro-presentism. This “radical structure of racial time” (26) was variously deployed","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"64 1","pages":"91 - 93"},"PeriodicalIF":0.2,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48990335","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 : 2022-12-20DOI: 10.1017/S0040557422000540
Patrick McKelvey
In 1967, the US Vocational Rehabilitation Administration (VRA) awarded $331,000 to the Eugene O'Neill Memorial Theatre Foundation to fund a new company, the National Theatre of the Deaf. Endowing such an enterprise was bold, but not entirely unprecedented for this federal agency tasked with restoring disabled Americans to productive employment. Founded in 1920, the federal–state vocational rehabilitation program, or VR, ascended to institutional and ideological prominence during World War II and maintained this position well into the 1960s and beyond. VR distinguished itself not only through positing competitive employment as the solution to disabled Americans’ dependence on the state, but the specific means through which it would restore the disabled to productivity: the multidisciplinary expertise of physicians, psychologists, physical therapists, and rehabilitation counselors who collectively sought to render rehabilitants employable through a series of therapeutic interventions. Whereas disability activists focused on combatting the structural barriers disabled workers experienced in the labor market, “rehabilitationists” emphasized the imperative for disabled people to acclimate to existing work environments through individual physical and psychological transformation.
{"title":"The Race for Rehabilitation: Sign-Mime, the National Theatre of the Deaf, and Cold War Internationalism","authors":"Patrick McKelvey","doi":"10.1017/S0040557422000540","DOIUrl":"https://doi.org/10.1017/S0040557422000540","url":null,"abstract":"In 1967, the US Vocational Rehabilitation Administration (VRA) awarded $331,000 to the Eugene O'Neill Memorial Theatre Foundation to fund a new company, the National Theatre of the Deaf. Endowing such an enterprise was bold, but not entirely unprecedented for this federal agency tasked with restoring disabled Americans to productive employment. Founded in 1920, the federal–state vocational rehabilitation program, or VR, ascended to institutional and ideological prominence during World War II and maintained this position well into the 1960s and beyond. VR distinguished itself not only through positing competitive employment as the solution to disabled Americans’ dependence on the state, but the specific means through which it would restore the disabled to productivity: the multidisciplinary expertise of physicians, psychologists, physical therapists, and rehabilitation counselors who collectively sought to render rehabilitants employable through a series of therapeutic interventions. Whereas disability activists focused on combatting the structural barriers disabled workers experienced in the labor market, “rehabilitationists” emphasized the imperative for disabled people to acclimate to existing work environments through individual physical and psychological transformation.","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"64 1","pages":"49 - 70"},"PeriodicalIF":0.2,"publicationDate":"2022-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43435693","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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