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}
Pub Date : 2022-09-01DOI: 10.1017/s0040557422000242
Sebastian X Samur
{"title":"Postdramatic Theatre and Form Edited by Michael Shane Boyle, Matt Cornish, and Brandon Woolf. Methuen Drama Engage. London: Methuen Drama, 2019; pp. xi + 266. $115.00 cloth, $40.95 paper, $36.85 e-book.","authors":"Sebastian X Samur","doi":"10.1017/s0040557422000242","DOIUrl":"https://doi.org/10.1017/s0040557422000242","url":null,"abstract":"","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"63 1","pages":"294 - 296"},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41467281","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 : 2022-09-01DOI: 10.1017/S0040557422000266
N. Hyland
The whakataukī, or Māori proverb, He waka eke noa—“We are all in the waka [canoe] together”—evolved as a kind of mantra, or catchphrase, for the collective commitment and resilience of the population of Aotearoa/New Zealand during the global COVID-19 pandemic; as a “Team of Five Million” we were “all in this together.” The co-option of an Indigenous worldview as a national positionality was not only utopian; it also operated as a form of gaslighting—an enforced performance of oceanic unity when the reality was widespread disenfranchisement and increasing inequity for Māori. With a more critical motivation, Diana Looser’s Moving Islands: Contemporary Performance and the Global Pacific also adopts the metaphor of the waka/vaka to evoke the mobility and diversity of Pacific citizens traversing within and across islandscapes. Looser’s monograph explores “how cultural and artistic performance highlights the ways that the millions of people who inhabit and descend from the Pacific Ocean navigate the environmental, economic, and military exigencies of the contemporary moment” (1–2). Articulated through a mediating paradigm she calls “transpasifika,” Looser employs various intercultural and performance studies theories to address a perceived dearth of performance praxis and critical theory on contemporary work in the Pacific region (3). Looser espouses the notion of etak from the Caroline Islands: a seafarer who occupies a steady, “conceptually immobile” canoe on course within a sea of “moving islands” (3–4). This performative trope, Looser suggests, usefully describes “Pacific creative artists who maintain control of their projects as they weather the vicissitudes of collaboration, funding, and production in local and global contexts” (4).
whakataukā，或毛利谚语，He waka eke noa-“我们都在waka[独木舟]里”-演变成了一种口头禅或流行语，表达了在全球新冠肺炎大流行期间，新西兰奥泰罗阿人民的集体承诺和复原力；作为一个“五百万团队”，我们“团结在一起”。将土著世界观作为国家立场的共同选择不仅是乌托邦式的；它也作为一种煤气灯的形式运作——当现实是毛利人普遍被剥夺选举权和日益加剧的不平等时，这是一种海洋团结的强制表现。戴安娜·卢瑟（Diana Looser）的《移动的岛屿：当代表演与全球太平洋》（Moving Islands:Contemporary Performance and the Global Pacific）也采用了瓦卡/瓦卡（waka/vaka）的隐喻，以唤起太平洋公民在岛内和岛内穿行的流动性和多样性。Looser的专著探讨了“文化和艺术表演如何突出居住在太平洋上和从太平洋上下来的数百万人应对当代环境、经济和军事紧急情况的方式”（1-2）。Looser通过一种她称之为“transpasifika”的中介范式表达了自己的观点，她运用了各种跨文化和绩效研究理论来解决太平洋地区缺乏绩效实践和当代工作批判理论的问题（3）。Looser支持来自卡罗琳群岛的etak的概念：一名海员在“移动的岛屿”的海洋中占据一艘稳定的、“概念上不动的”独木舟（3-4）。Looser认为，这种表演性的比喻有效地描述了“太平洋创意艺术家在当地和全球背景下经受住合作、资金和制作的变化时，对自己的项目保持控制”（4）。
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Pub Date : 2022-09-01DOI: 10.1017/S004055742200028X
Nora L. Corrigan
digital projects once they are complete, and whether digital scholars should also be programmers (Escobar Varela votes yes—at least somewhat). I found Chapter 8, “The Imperative of Open and Sustainable Data” particularly useful in its advice that scholars determine which components of a project should be saved and how, rather than trying to preserve a project across inevitable platform and software changes. Sharing data is critical “to allow others to verify our results, to enable other researchers to combine our data with their own datasets to ask new questions, and, equally important, for use in training courses” (170). Escobar Varela cautions, however, that “sharing without preservation is meaningless” (164). But what does it mean to preserve digital projects? Escobar Varela advises readers to identify “the data, the data models, and the visualizations and interfaces worth keeping for posterity” (174), while recognizing that the theorization of ephemerality in performance studies equips the field both to understand and to value the temporary nature of much digital inquiry. This chapter is vital reading for scholars, graduate advisors, and administrators who might find themselves in the position of overseeing, advocating for, or explaining digital projects and who thus need a concrete understanding of the challenges specific to digital scholarship. With its impressive survey of scholarly projects, methods, and debates, Theater as Data is an important text for everyone working at the intersections of the digital humanities and theatre, dance, and performance studies.
{"title":"Games and Theatre in Shakespeare's England Edited by Tom Bishop, Gina Bloom, and Erika T. Lin. Cultures of Play. Amsterdam: Amsterdam University Press, 2021; pp. 332. $136 cloth, €108.99 e-book.","authors":"Nora L. Corrigan","doi":"10.1017/S004055742200028X","DOIUrl":"https://doi.org/10.1017/S004055742200028X","url":null,"abstract":"digital projects once they are complete, and whether digital scholars should also be programmers (Escobar Varela votes yes—at least somewhat). I found Chapter 8, “The Imperative of Open and Sustainable Data” particularly useful in its advice that scholars determine which components of a project should be saved and how, rather than trying to preserve a project across inevitable platform and software changes. Sharing data is critical “to allow others to verify our results, to enable other researchers to combine our data with their own datasets to ask new questions, and, equally important, for use in training courses” (170). Escobar Varela cautions, however, that “sharing without preservation is meaningless” (164). But what does it mean to preserve digital projects? Escobar Varela advises readers to identify “the data, the data models, and the visualizations and interfaces worth keeping for posterity” (174), while recognizing that the theorization of ephemerality in performance studies equips the field both to understand and to value the temporary nature of much digital inquiry. This chapter is vital reading for scholars, graduate advisors, and administrators who might find themselves in the position of overseeing, advocating for, or explaining digital projects and who thus need a concrete understanding of the challenges specific to digital scholarship. With its impressive survey of scholarly projects, methods, and debates, Theater as Data is an important text for everyone working at the intersections of the digital humanities and theatre, dance, and performance studies.","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"63 1","pages":"286 - 288"},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49059733","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 : 2022-09-01DOI: 10.1017/S0040557422000217
Tony Perucci
{"title":"Performing Flight: From the Barnstormers to Space Tourism By Scott Magelssen. Ann Arbor: University of Michigan Press, 2020; pp. xii + 192, 12 illustrations. $75 cloth, $29.95 paper, $29.95 e-book.","authors":"Tony Perucci","doi":"10.1017/S0040557422000217","DOIUrl":"https://doi.org/10.1017/S0040557422000217","url":null,"abstract":"","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"63 1","pages":"282 - 284"},"PeriodicalIF":0.2,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48796030","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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