Knowles presents a rich overview of how twenty-first-century theatre and performance festivals contribute to fostering intercultural collaboration, exchange, and community-building. Drawing on a mixed methodology and featuring global case studies, the book sits at the intersection of scholarship on festivalization, urban entrepreneurialism, and the new interculturalism studies.
{"title":"Ric Knowles. International Theatre Festivals and 21st-Century Interculturalism","authors":"Emine Fişek","doi":"10.3138/md-66-4-rev5","DOIUrl":"https://doi.org/10.3138/md-66-4-rev5","url":null,"abstract":"Knowles presents a rich overview of how twenty-first-century theatre and performance festivals contribute to fostering intercultural collaboration, exchange, and community-building. Drawing on a mixed methodology and featuring global case studies, the book sits at the intersection of scholarship on festivalization, urban entrepreneurialism, and the new interculturalism studies.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"48 3","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139191996","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This is a study of the effects on the Soviet theatre of the political “Thaw” following Stalin’s death in 1953. It concentrates on a number of case studies to show how previously repressed artistic movements were revived and how a new freedom of expression, both in staging and playwriting, navigated through censorship and inconsistent state policy.
{"title":"Jesse Gardiner. Soviet Theatre during the Thaw: Aesthetics, Politics and Performance","authors":"Laurence Senelick","doi":"10.3138/md-66-4-rev4","DOIUrl":"https://doi.org/10.3138/md-66-4-rev4","url":null,"abstract":"This is a study of the effects on the Soviet theatre of the political “Thaw” following Stalin’s death in 1953. It concentrates on a number of case studies to show how previously repressed artistic movements were revived and how a new freedom of expression, both in staging and playwriting, navigated through censorship and inconsistent state policy.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"27 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139193832","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Through a close reading of Sam Shepard’ Curse of the Starving Class (1977), this article examines how the playwright’ work responded to the neoliberal economy as it began to deform and reorganize the lives of working Americans in the 1960s and 1970s by figuring neoliberalism as a nihilistic form of capitalism that cannot be adequately depicted via dramatic realism. Drawing inspiration from the work of Samuel Beckett, Curse engages neoliberalism through three formal devices: ceremonial monologues, objects that appear to magically proliferate, and elements of sacrifice – a lamb, fattened for slaughter. These three motifs are shown to subvert the causal logic of normative dramatic narrative to depict instead the new mode of neoliberal capitalism in which competition destroys familial bonds, creating only isolated individuals. It is precisely by integrating such Beckettian techniques within a realist envelope that Shepard made his family plays into a formidable demonstration of what it means to live within late industrial capitalism.
{"title":"Shepard’s Political Economy: Curse of the Starving Class in Neoliberal Capitalism","authors":"Guy Zimmerman","doi":"10.3138/md-66-4-1267","DOIUrl":"https://doi.org/10.3138/md-66-4-1267","url":null,"abstract":"Through a close reading of Sam Shepard’ Curse of the Starving Class (1977), this article examines how the playwright’ work responded to the neoliberal economy as it began to deform and reorganize the lives of working Americans in the 1960s and 1970s by figuring neoliberalism as a nihilistic form of capitalism that cannot be adequately depicted via dramatic realism. Drawing inspiration from the work of Samuel Beckett, Curse engages neoliberalism through three formal devices: ceremonial monologues, objects that appear to magically proliferate, and elements of sacrifice – a lamb, fattened for slaughter. These three motifs are shown to subvert the causal logic of normative dramatic narrative to depict instead the new mode of neoliberal capitalism in which competition destroys familial bonds, creating only isolated individuals. It is precisely by integrating such Beckettian techniques within a realist envelope that Shepard made his family plays into a formidable demonstration of what it means to live within late industrial capitalism.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"54 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139195916","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Johann Gottfried Herder is primarily known for his writings on the philosophy of history, linguistics, and theology; his ideas about theatre have been largely overlooked. His interest in the history of various human cultures and his significant influence on the birth of anthropology shaped his unique approach to aesthetics and theatre. This article asks how he understood nature in theatre – more precisely, the possibility of producing a natural theatre during the Enlightenment, an age dominated by the celebration of reason. By examining Herder’s use of terms related to nature in multiple sources that have almost never been investigated – including some of Herder’s manuscripts, fragments, and short texts on theatre – this article shows that there is a link between Herder’s reflections on drama and theatre, nourished by his engagement with various disciplines, especially history, and the theatrical issues that would preoccupy his successors in the centuries to come. Herder’s conception of a natural theatre resonates in particular with Bertolt Brecht’s desire for the stage to represent the human condition as a historical process.
约翰-戈特弗里德-赫尔德（Johann Gottfried Herder）主要以其历史哲学、语言学和神学著作而闻名，他的戏剧思想在很大程度上被忽略了。他对各种人类文化历史的兴趣以及他对人类学诞生的重要影响塑造了他独特的美学和戏剧方法。本文探讨了他如何理解戏剧中的自然--更确切地说，在以崇尚理性为主导的启蒙运动时期创作自然戏剧的可能性。通过研究赫尔德在几乎从未被研究过的多种资料（包括赫尔德的一些手稿、片段和有关戏剧的短文）中使用的与自然相关的术语，本文表明，赫尔德对戏剧和剧场的思考与他对各种学科（尤其是历史学）的参与所滋养的戏剧问题之间存在着联系，而这些问题将在未来几个世纪困扰着他的后继者。赫尔德的自然剧场概念与布莱希特（Bertolt Brecht）希望舞台表现人类历史进程的愿望产生了共鸣。
{"title":"The “Nature of Theatre”: Herder’s Pursuit of a Human Theatre","authors":"Catherine Girardin","doi":"10.3138/md-66-4-1258","DOIUrl":"https://doi.org/10.3138/md-66-4-1258","url":null,"abstract":"Johann Gottfried Herder is primarily known for his writings on the philosophy of history, linguistics, and theology; his ideas about theatre have been largely overlooked. His interest in the history of various human cultures and his significant influence on the birth of anthropology shaped his unique approach to aesthetics and theatre. This article asks how he understood nature in theatre – more precisely, the possibility of producing a natural theatre during the Enlightenment, an age dominated by the celebration of reason. By examining Herder’s use of terms related to nature in multiple sources that have almost never been investigated – including some of Herder’s manuscripts, fragments, and short texts on theatre – this article shows that there is a link between Herder’s reflections on drama and theatre, nourished by his engagement with various disciplines, especially history, and the theatrical issues that would preoccupy his successors in the centuries to come. Herder’s conception of a natural theatre resonates in particular with Bertolt Brecht’s desire for the stage to represent the human condition as a historical process.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"75 3","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139188151","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This review surveys Shannon Jackson’s Back Stages: Essays across Art, Performance, and Public Life, which collects eighteen of Jackson’s previously un-anthologized essays, together with a new introduction and epilogue, and provides a rich overview of her recent views of performance, contemporary art, and radical politics.
{"title":"Shannon Jackson. <i>Back Stages: Essays across Art, Performance, and Public Life</i>","authors":"Joseph Cermatori","doi":"10.3138/md-66-3-rev04","DOIUrl":"https://doi.org/10.3138/md-66-3-rev04","url":null,"abstract":"This review surveys Shannon Jackson’s Back Stages: Essays across Art, Performance, and Public Life, which collects eighteen of Jackson’s previously un-anthologized essays, together with a new introduction and epilogue, and provides a rich overview of her recent views of performance, contemporary art, and radical politics.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135638645","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Beckett’s Laboratory argues that Beckett’s dramaturgy, rehearsal practices, collaborators, and legacy constitute a laboratory for experiments in human behaviour as well as developing new forms and uses for the theatre itself. Despite inconsistencies in structure and some rhetorical excesses, the book advances the cause of a more “open” Beckettian futurity.
{"title":"Corey Wakeling. <i>Beckett’s Laboratory: Experiments in the Theatre Enclosure</i>","authors":"Nicholas Johnson","doi":"10.3138/md-66-3-rev08","DOIUrl":"https://doi.org/10.3138/md-66-3-rev08","url":null,"abstract":"Beckett’s Laboratory argues that Beckett’s dramaturgy, rehearsal practices, collaborators, and legacy constitute a laboratory for experiments in human behaviour as well as developing new forms and uses for the theatre itself. Despite inconsistencies in structure and some rhetorical excesses, the book advances the cause of a more “open” Beckettian futurity.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135638650","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Hannah Khalil’s play A Museum in Baghdad and its 2019 staging by the Royal Shakespeare Company focus on the complex relationship between museum and theatre as memory institutions. This relationship was enhanced by metatheatrical connections between the performance of the museum on stage, the accompanying displays in the Royal Shakespeare Theatre lobby and gift shop, and the spectators who entered the Swan Theatre auditorium. The exploration of the intricate exchange between performance, space, and audience reveals the paramount importance of two specific issues: the politics of display and the performative aspect of nation-making within national institutions. Using postcolonial and decolonial frameworks, my analysis probes the ways in which theatre may offer a better understanding of dramaturgies of display in museums through the exposure and critique of the complex cultural and social challenges that emerge from the interdependence between national cultural institutions and official narratives of belonging (such as the lack of representation of marginalized communities, homogenized views of cultural development, or targeted financial support for institutions that adhere to state narratives). Khalil’s theatrical depiction of the political intricacies of curatorial decision-making allows for a sobering examination of both the role of museums in the creation of national narratives of identity and the responsibility of the theatre to uncover the cultural mechanisms used to enforce such narratives.
汉娜·哈利勒(Hannah Khalil)的戏剧《巴格达博物馆》(A Museum in Baghdad)及其2019年由皇家莎士比亚剧团(Royal Shakespeare Company)上演的舞台剧，关注的是博物馆和剧院作为记忆机构之间的复杂关系。这种关系通过博物馆在舞台上的表演、皇家莎士比亚剧院大厅和礼品店的配套展示以及进入天鹅剧院礼堂的观众之间的元戏剧联系而得到加强。对表演、空间和观众之间错综复杂的交流的探索揭示了两个具体问题的至高无上的重要性:展示的政治和国家机构内国家制造的表演方面。利用后殖民和去殖民的框架，我的分析探讨了戏剧通过暴露和批判复杂的文化和社会挑战来更好地理解博物馆展示的戏剧手法的方式，这些挑战来自国家文化机构和归属的官方叙述之间的相互依存关系(例如缺乏边缘化社区的代表性，文化发展的同质化观点，或者为坚持国家叙事的机构提供有针对性的财政支持)。哈利勒戏剧性地描绘了策展决策的政治复杂性，让我们清醒地审视了博物馆在创造国家身份叙事中的作用，以及剧院揭示用于执行这种叙事的文化机制的责任。
{"title":"Exhibiting the Nation: Identity and (Post)colonial Aesthetics in Hannah Khalil’s <i>A Museum in Baghdad</i>","authors":"Carmen Levick","doi":"10.3138/md-66-3-1238","DOIUrl":"https://doi.org/10.3138/md-66-3-1238","url":null,"abstract":"Hannah Khalil’s play A Museum in Baghdad and its 2019 staging by the Royal Shakespeare Company focus on the complex relationship between museum and theatre as memory institutions. This relationship was enhanced by metatheatrical connections between the performance of the museum on stage, the accompanying displays in the Royal Shakespeare Theatre lobby and gift shop, and the spectators who entered the Swan Theatre auditorium. The exploration of the intricate exchange between performance, space, and audience reveals the paramount importance of two specific issues: the politics of display and the performative aspect of nation-making within national institutions. Using postcolonial and decolonial frameworks, my analysis probes the ways in which theatre may offer a better understanding of dramaturgies of display in museums through the exposure and critique of the complex cultural and social challenges that emerge from the interdependence between national cultural institutions and official narratives of belonging (such as the lack of representation of marginalized communities, homogenized views of cultural development, or targeted financial support for institutions that adhere to state narratives). Khalil’s theatrical depiction of the political intricacies of curatorial decision-making allows for a sobering examination of both the role of museums in the creation of national narratives of identity and the responsibility of the theatre to uncover the cultural mechanisms used to enforce such narratives.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"73 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135637565","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Considering the critical methods of performance studies, critical race studies, and sensorial studies, this article analyses the creation of social identities through the rubric of touch – a tactile sensibility that provides a cultural foundation for the mis perception of bodies as racialized subjects. Touch has been an under-researched and under-utilized methodology for understanding how race works. Specifically attending to the historical period of Jim Crow in the early twentieth century because of its deeply held investments in the politics of separateness, this article examines Paul Green’s 1926 Pulitzer Prize–winning play In Abraham’s Bosom as one of the rare dramas during this period that actually showed Black acts of touching back on the stage. Green challenges his audience to contend with an oppressive Jim Crow racial regime that forced African Americans to establish alternative modes of freedom outside of more traditional expressions of autonomy and citizenship. Reading Green’s work in this way allows for a consideration of the differing strategies at play in the fight toward equality for Black Americans. Taking up tactility, in the context of the United States, as a cultural system used to mark bodies as raced and weaponized to uphold white supremacy, this essay approaches touch as a performative act that is meaningful, effective, and consequential, thereby grappling with the present ways that American society underestimates the social, political, and cultural power that touch wields in our understanding of social identities.
{"title":"Touching Back while Black: Self-Defence and the Politics of Black US Citizenship in Paul Green’s <i>In Abraham’s Bosom</i>","authors":"Angela M. Farr Schiller","doi":"10.3138/md-66-3-1086","DOIUrl":"https://doi.org/10.3138/md-66-3-1086","url":null,"abstract":"Considering the critical methods of performance studies, critical race studies, and sensorial studies, this article analyses the creation of social identities through the rubric of touch – a tactile sensibility that provides a cultural foundation for the mis perception of bodies as racialized subjects. Touch has been an under-researched and under-utilized methodology for understanding how race works. Specifically attending to the historical period of Jim Crow in the early twentieth century because of its deeply held investments in the politics of separateness, this article examines Paul Green’s 1926 Pulitzer Prize–winning play In Abraham’s Bosom as one of the rare dramas during this period that actually showed Black acts of touching back on the stage. Green challenges his audience to contend with an oppressive Jim Crow racial regime that forced African Americans to establish alternative modes of freedom outside of more traditional expressions of autonomy and citizenship. Reading Green’s work in this way allows for a consideration of the differing strategies at play in the fight toward equality for Black Americans. Taking up tactility, in the context of the United States, as a cultural system used to mark bodies as raced and weaponized to uphold white supremacy, this essay approaches touch as a performative act that is meaningful, effective, and consequential, thereby grappling with the present ways that American society underestimates the social, political, and cultural power that touch wields in our understanding of social identities.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135637569","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Essays in Bernard Shaw and the Spanish-Speaking World, edited by Gustavo Rodríguez Martín, utilize a range of scholarly lenses to unfold insightful and provocative reasons why Shaw’s plays, prefaces, and speeches circa 1890–1950 had international appeal and have retained their impact in the present moment.
{"title":"Gustavo Martín Rodríguez, ed. <i>Bernard Shaw and the Spanish-Speaking World</i>","authors":"Ellen Ecker Dolgin","doi":"10.3138/md-66-3-rev06","DOIUrl":"https://doi.org/10.3138/md-66-3-rev06","url":null,"abstract":"Essays in Bernard Shaw and the Spanish-Speaking World, edited by Gustavo Rodríguez Martín, utilize a range of scholarly lenses to unfold insightful and provocative reasons why Shaw’s plays, prefaces, and speeches circa 1890–1950 had international appeal and have retained their impact in the present moment.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"73 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135638647","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores the relationships between personal and collective memory, especially transgenerational memory, within a Protestant, loyalist family in Northern Ireland in Christina Reid’s My Name, Shall I Tell You My Name?. Forgetting plays a vital role in the communal memory of loyalism and unionism within the world of the play. The female protagonist, Andrea, actively unsettles that forgetting by challenging the mainstream loyalist commemoration exemplified by her grandfather Andy via alternative narratives and commemoration. The ongoing contestation over the collective memory of the Battle of the Somme, one of the pivotal historical events in loyalist remembrance culture, reveals the peculiar temporality of loyalist memory and uncovers problems inherent to the eternal cycle of loyalist memory and its oblivion. Through its treatment of these themes, I suggest that My Name conveys an ethical imperative to remember for the future instead of the past.
{"title":"The Politics and Ethics of Collective Memory and Forgetting in Christina Reid’s <i>My Name, Shall I Tell You My Name?</i>","authors":"Chen-Wei Han","doi":"10.3138/md-66-3-1231","DOIUrl":"https://doi.org/10.3138/md-66-3-1231","url":null,"abstract":"This article explores the relationships between personal and collective memory, especially transgenerational memory, within a Protestant, loyalist family in Northern Ireland in Christina Reid’s My Name, Shall I Tell You My Name?. Forgetting plays a vital role in the communal memory of loyalism and unionism within the world of the play. The female protagonist, Andrea, actively unsettles that forgetting by challenging the mainstream loyalist commemoration exemplified by her grandfather Andy via alternative narratives and commemoration. The ongoing contestation over the collective memory of the Battle of the Somme, one of the pivotal historical events in loyalist remembrance culture, reveals the peculiar temporality of loyalist memory and uncovers problems inherent to the eternal cycle of loyalist memory and its oblivion. Through its treatment of these themes, I suggest that My Name conveys an ethical imperative to remember for the future instead of the past.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135637775","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"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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