Pub Date : 2022-05-01DOI: 10.1017/S0040557422000072
Mattie Burkert
Stock characters named “Nobody” and “Somebody” were mainstays of British performance culture in the mid- to late eighteenth century. Playbills and newspaper advertisements show that these roles were popular with audiences in London, Dublin, and Edinburgh, as well as on the regional stages. Men and women alike took on these personae to deliver songs, prologues, and epilogues, often as part of benefit performances where they chose their most crowd-pleasing roles to maximize ticket sales. Some of the pieces spoken by Nobody and Somebody were popular enough to make their way into print, excerpted in novels and miscellanies. The duo appeared in George Alexander Stevens's wildly popular Lecture on Heads (1764), which traveled across the Atlantic to stages in Charleston, Philadelphia, and New York, continuing to be performed in the early Republic until the nineteenth century. Offstage, the figures were staples of visual culture; as Terry Robinson has shown, audience awareness of these figures from Romantic-era political cartoons formed an important backdrop for Mary Robinson's theatrical afterpiece Nobody (1794).
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Pub Date : 2022-05-01DOI: 10.1017/s0040557422000035
Anticipation is an energy that can enliven or evacuate a moment. It tells us to look forward to what is to come, but it can also keep us from sitting with the specificity of the present, moving us too hastily from the significance of what is right in front of us. As scholars of performance history, we are trained to look for the most meaningful change over time, the specialness of specific moments. The authors in this issue document and interpret the past in order to weave skillful bridges toward the present, sometimes illuminating, without falling into teleological framings, the ways that artists and critics of the past anticipated some of the most pressing concerns of contemporary times. Rebecca Kastleman opens this issue with a study that uplifts Zora Neale Hurston’s foresight as both a performance theorist and a leader in university-based theatre practice. Building upon the work of other Hurston scholars, she identifies the ways that Hurston’s creative practice, particularly after the termination of Charlotte Osgood Mason’s patronage, worked expansively to uplift the artistry of Black life across media and social spaces. Kastleman adds to the movement to recognize Hurston as part of the genealogy of American performance theory, providing a foundation for our understanding of precisely how relationships between participants and audiences constitute performance events. Hurston’s deployment of her anthropological training shed light on the interpersonal, institutional, and communal dimensions of social relationships, developing a framework that extends toward the ways in which subsequent articulations of performance theory evolved a scalar model of representational efficacy in the construction of social meaning. In addition, her work within university settings provided spaces where she could both refine her personal craft as a writer and theorist, and also contribute to a vision of what arts curricula at the collegiate level could and should include. In the first half of the twentieth century, Hurston was advocating for the well-rounded course offerings that many of us continue to implore our campus leaders to fund! Bradley Rogers offers a biographical contribution that highlights the signal influence of Otto Harbach upon what we now appreciate as “integrated” musical theatre. Harbach entered the field at a time when musical comedy was a disaggregated assortment of musical numbers and narrative, with no deep sense of connection between the two that would maintain an audience’s connection to the story’s emotional through line. Instead, Harbach leveraged his extensive training in (and subsequent employment as an instructor of) elocution and oratory to advance a more holistic approach to the musical, deploying songs to advance rather than interrupt the narrative, and did so quite early in the twentieth century, years before the theatrical works that are most commonly celebrated as achieving this formal synthesis. Rogers’s essay reasserts Harbach’s
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Pub Date : 2022-05-01DOI: 10.1017/S0040557422000047
Rebecca Kastleman
It was May in Eau Gallie, Florida, and Zora Neale Hurston was headed to church. Shutting the door to her cottage near the shores of the Indian River, Hurston set out to join the local Baptist congregation, where she would hear a sermon delivered by its pastor, the Reverend C. C. Lovelace. Hurston had been pondering the question of how to represent the experience of a church service in a theatrical performance. “Know what I am attempting?” she had written to Langston Hughes a few days earlier, in April 1929. “To set an entire Bapt. service word for word and note for note.” Listening to Lovelace's sermon in Eau Gallie, Hurston admired how the preacher's oratory built seamlessly from a creation story into a fiery vision of divine retribution. She was so taken by the poetry of Lovelace's words that she transcribed his sermon in its entirety. This sermon later served as the centerpiece of the play The Sermon in the Valley, a work that testifies to Hurston's aim to render a Baptist service “word for word and note for note.” Like many of her plays, The Sermon in the Valley reveals the intimate entanglement of her ethnographic compositions and her writing for the stage.
那是五月，在佛罗里达州的欧加利，佐拉·尼尔·赫斯顿正前往教堂。赫斯顿关上了她在印第安河畔的小屋的门，开始加入当地的浸信会会众，在那里她会听到牧师c·c·洛夫莱斯的布道。赫斯顿一直在思考如何在戏剧表演中表现教堂礼拜的经历。“知道我在尝试什么吗?”几天前，也就是1929年4月，她在给兰斯顿·休斯的信中写道。“要设置一个完整的洗礼。一字不差，一字不差。”听着洛夫莱斯在欧加利的布道，赫斯顿很欣赏这位传教士的演讲是如何从创世故事无缝衔接到神的报应的火热景象的。她被洛夫莱斯诗歌般的话语所吸引，她把他的布道全文抄录了下来。这篇讲道后来成为戏剧《山谷布道》(the sermon in the Valley)的核心内容，这部作品证明了赫斯顿“逐字逐句”地进行浸信会礼拜的目标。像她的许多戏剧一样，《山谷布道》揭示了她的民族志作品和她的舞台写作之间的亲密纠缠。
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Pub Date : 2022-05-01DOI: 10.1017/S0040557422000059
B. Rogers
In 1920, Oscar Hammerstein II—fresh from the modest success of his debut musical Always You—was eager to write the show for Frank Tinney that his uncle Arthur was to produce. As Hugh Fordin wrote, “Arthur, confident of his nephew's ability but aware that he needed to learn more about his craft, brought in Otto Harbach to collaborate on the book and lyrics.” The two men joined forces on that show—Tickle Me—and went on to write such classics as Rose-Marie (1924, Rudolf Friml & Herbert Stothart), Sunny (1925, Jerome Kern), and The Desert Song (1926, Sigmund Romberg). After working with Harbach (Fig. 1), Hammerstein would venture on his own and write Show Boat, Oklahoma!, and be credited as having ushered in a new era of musical theatre, chiefly defined by his success at “integration.” As literary scholar Scott McMillin writes, the conventional idea of integration is that “all elements of a show—plot, character, song, dance, orchestration, and setting—should blend together into a unity, a seamless whole.” In popular commentary, this development is often attributed to Rodgers & Hammerstein's 1943 musical Oklahoma!, as seen in John Kenrick's claim that “[t]hroughout the show, every word, number, and dance step was an organic part of the storytelling process. Instead of interrupting the dialogue, each song and dance continued it. For the first time, everything flowed in an unbroken narrative line from overture to curtain call.” Other historians and critics are more tempered, touting the success of Oklahoma! while insisting that its integration must be seen as part of a broader historical arc. Andrew Lamb, for example, celebrates Oklahoma! by noting that it was the realization of “[w]hat Kern and Gershwin had experimented with as far back as the 1920s—a piece that was not just a collection of catchy numbers, but a fusion of drama, song, and dance.” In a 1962 article, Stanley Green notes that the creators of Oklahoma! “blended all the theatrical arts with such skill tha[t] many accepted it as a revolution in the theatre,” but he argues that their accomplishment was actually “more evolutionary than revolutionary. Rather than inaugurating any trend toward the well-integrated show, what it did achieve was a perfection in technique of a development that had been going on ever since the second decade of the century.” While Green cites the Princess Theatre musicals of Bolton, Wodehouse, and Kern as the earliest examples of integration, this lineage goes back further—further than Hammerstein, further than Gershwin, further than Kern. To understand the history of the idea of “integration” in musical theatre, we must go back to the artist whose 1910 musical Madame Sherry, hailed as the “musical comedy rage of a generation,” was celebrated by critics for the way its “entertaining elements” were “cleverly interwoven into a consistent whole,” for the innovative ways that “the songs, lyrics, and ensemble numbers . . . are directly related to the story of the comedy, a
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Pub Date : 2022-05-01DOI: 10.1017/S0040557422000151
V. Bianchi
in temporary and permanent theatre institutions in post-Wall Berlin. Whereas it strongly disavows “the long-standing tradition of state-subsidized theater in Berlin,” it makes scant effort to disavow male dominance at the Berlin theatres (8). It also leaves the reader with a question: How have the burning issues of migration, citizenship, and nationalism impacted performing arts policies in post-Wall Berlin? It is understandable that Woolf does not address the question, however, because his primary focus is to explicate the complex relationship between performance and policy. Although he leaves this to other theatre and performance scholars for further exploration, Woolf makes a significant contribution to theatre studies, performance studies, German studies, and cultural studies.
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Pub Date : 2022-05-01DOI: 10.1017/S0040557422000138
Nicholas Utzig
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Pub Date : 2022-05-01DOI: 10.1017/S0040557422000060
Ricardo Rocha
The effect of this “colonial cringe” is an enduring and debilitating performance anxiety on a global stage.
这种“殖民畏缩”的影响是在全球舞台上持久而衰弱的表演焦虑。
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Pub Date : 2022-05-01DOI: 10.1017/S0040557422000187
Sarah Saddler
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Pub Date : 2022-05-01DOI: 10.1017/S0040557422000114
Ping Fu
scholarly study and training programs. Dumont’s chapter makes a historiographical point by mentioning the subsequent tension between the “intellectual” and the “popular” in contemporary circus arts (189), as if the two terms are anathema to one another. Thus, only when the circus was removed from its original context was it recognized as artistic. Last, Anna-Sophie Jürgens’s essay “Through the Looking Glass: Multidisciplinary Perspectives in Circus Studies” (Chapter 16) performs a literary review of the imaginative scholarship taking place across various disciplines, including the sciences, literary studies, humor studies, and disability studies. Through her exploration, she demonstrates the vitality of the field of circus studies. For example, neuroscientists have investigated the “alteration of cerebral formations” through the complex motor exercises practiced in the circus (245). The editors acknowledge the recent emergence of the field; yet what is missing from the Introduction is a historiographical account of how the circus, its acts, and performers have been written about in the past. As Charles R. Batson and Karen Fricker note in Chapter 15, “circus studies is a field in formation, and as such so are the methods scholars apply in their circus research” (231). With that in mind, what has been circus’s place in the academy, historically speaking? What has constituted the nature, style, and concerns of circus scholarship prior to this entry? What are the lacunae that need to be redressed by the archive? These questions are answered, in part, by the last part of the book, but are left unattended in the Introduction, and might have provided useful context for the Companion’s intervention in the field. Nonetheless, the samplings of studies offered successfully draw the reader’s attention to the promise of circus studies by preparing students to pursue further research into the circus as a big top of manifold opportunities.
学术学习和培训项目。杜蒙特的这一章提出了一个历史观点，提到了当代马戏团艺术中“知识分子”和“大众”之间随后的紧张关系（189），就好像这两个术语彼此深恶痛绝一样。因此，只有当马戏团从最初的背景中移除时，它才被认为是艺术性的。最后，Anna Sophie Jürgens的文章《透过镜子：马戏团研究的多学科视角》（第16章）对科学、文学研究、幽默研究和残疾研究等各个学科的富有想象力的学术进行了文学回顾。通过她的探索，她展示了马戏团研究领域的活力。例如，神经科学家通过马戏团中练习的复杂运动练习，研究了“大脑结构的改变”（245）。编辑们承认该领域最近的出现；然而，引言中缺少的是对马戏团、其表演和表演者在过去是如何被描述的历史描述。正如Charles R.Batson和Karen Fricker在第15章中所指出的，“马戏团研究是一个形成中的领域，因此学者们在马戏团研究中应用的方法也是如此”（231）。考虑到这一点，从历史上讲，马戏团在学院里的地位是什么？在进入之前，马戏团奖学金的性质、风格和关注点是什么？档案馆需要填补哪些空白？这些问题在本书的最后部分得到了部分回答，但在引言中没有提及，可能为同伴在该领域的干预提供了有用的背景。尽管如此，所提供的研究样本还是成功地吸引了读者对马戏团研究的关注，让学生们做好了对马戏团进行进一步研究的准备，这是一个千载难逢的机会。
{"title":"The Chinese Atlantic: Seascapes and the Theatricality of Globalization By Sean Metzger. Indiana University Press. Bloomington: Indiana, 2020; pp. vii + 262, 35 illustrations. $75 cloth, $25 paper, $12.99 e-book.","authors":"Ping Fu","doi":"10.1017/S0040557422000114","DOIUrl":"https://doi.org/10.1017/S0040557422000114","url":null,"abstract":"scholarly study and training programs. Dumont’s chapter makes a historiographical point by mentioning the subsequent tension between the “intellectual” and the “popular” in contemporary circus arts (189), as if the two terms are anathema to one another. Thus, only when the circus was removed from its original context was it recognized as artistic. Last, Anna-Sophie Jürgens’s essay “Through the Looking Glass: Multidisciplinary Perspectives in Circus Studies” (Chapter 16) performs a literary review of the imaginative scholarship taking place across various disciplines, including the sciences, literary studies, humor studies, and disability studies. Through her exploration, she demonstrates the vitality of the field of circus studies. For example, neuroscientists have investigated the “alteration of cerebral formations” through the complex motor exercises practiced in the circus (245). The editors acknowledge the recent emergence of the field; yet what is missing from the Introduction is a historiographical account of how the circus, its acts, and performers have been written about in the past. As Charles R. Batson and Karen Fricker note in Chapter 15, “circus studies is a field in formation, and as such so are the methods scholars apply in their circus research” (231). With that in mind, what has been circus’s place in the academy, historically speaking? What has constituted the nature, style, and concerns of circus scholarship prior to this entry? What are the lacunae that need to be redressed by the archive? These questions are answered, in part, by the last part of the book, but are left unattended in the Introduction, and might have provided useful context for the Companion’s intervention in the field. Nonetheless, the samplings of studies offered successfully draw the reader’s attention to the promise of circus studies by preparing students to pursue further research into the circus as a big top of manifold opportunities.","PeriodicalId":42777,"journal":{"name":"THEATRE SURVEY","volume":"63 1","pages":"239 - 241"},"PeriodicalIF":0.2,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41610295","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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