Takeo Rivera’s Model Minority Masochism: Performing the Cultural Politics of Asian American Masculinity examines the ways in which Asian American subject formation since the 1980s bears a masochistic relationship with the model minority myth, highlighting this dynamic in a wide range of Asian American texts and performances.
{"title":"Takeo Rivera. <i>Model Minority Masochism: Performing the Cultural Politics of Asian American Masculinity</i>","authors":"Kee-Yoon Nahm","doi":"10.3138/md-66-3-rev05","DOIUrl":"https://doi.org/10.3138/md-66-3-rev05","url":null,"abstract":"Takeo Rivera’s Model Minority Masochism: Performing the Cultural Politics of Asian American Masculinity examines the ways in which Asian American subject formation since the 1980s bears a masochistic relationship with the model minority myth, highlighting this dynamic in a wide range of Asian American texts and performances.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"70 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":"135638662","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}
Audionarratology: Lessons from Radio Drama, edited by Lars Bernaerts and Jarmila Mildorf, epitomizes the style of an emerging school of radio drama studies. Through ambitious application of a variety of narratology-based approaches to meaning-making in radio, the book succeeds in solidifying radio drama as a first-order subject of narratological research.
{"title":"Lars Bernaerts and Jarmila Mildorf, eds. <i>Audionarratology: Lessons from Radio Drama</i>","authors":"Neil Verma","doi":"10.3138/md-66-3-rev01","DOIUrl":"https://doi.org/10.3138/md-66-3-rev01","url":null,"abstract":"Audionarratology: Lessons from Radio Drama, edited by Lars Bernaerts and Jarmila Mildorf, epitomizes the style of an emerging school of radio drama studies. Through ambitious application of a variety of narratology-based approaches to meaning-making in radio, the book succeeds in solidifying radio drama as a first-order subject of narratological research.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"1 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":"135637785","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}
Visualising Lost Theatres is an innovative study that uses virtual reality to advance new conclusions about the architecture and use of a sample of historic performance spaces. Theatres are conceived as “living systems” whose “flows” can be best appreciated by inhabited digital reconstructions of these spaces.
{"title":"Joanne Tompkins, Julie Holledge, Jonathan Bollen, and Liyang Xia. <i>Visualising Lost Theatres: Virtual Praxis and the Recovery of Performance Spaces</i>","authors":"Alistair Fair","doi":"10.3138/md-66-3-rev07","DOIUrl":"https://doi.org/10.3138/md-66-3-rev07","url":null,"abstract":"Visualising Lost Theatres is an innovative study that uses virtual reality to advance new conclusions about the architecture and use of a sample of historic performance spaces. Theatres are conceived as “living systems” whose “flows” can be best appreciated by inhabited digital reconstructions of these spaces.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"64 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":"135638646","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}
“Vaudeville Indians” on Global Circuits, 1880s– 1930s recovers five decades of vaudeville performers portraying “Indian” characters on North American and international stages. Drawing from archival research, Christine Bold focuses on the lives of eight vaudevillians, including Indigenous actors as well as non-Indigenous performers committing ethnic fraud to perform as “Indian” on popular stages.
{"title":"Christine Bold. <i>“Vaudeville Indians” on Global Circuits, 1880s</i>–<i>1930s</i>","authors":"Elkin Mohler","doi":"10.3138/md-66-3-rev02","DOIUrl":"https://doi.org/10.3138/md-66-3-rev02","url":null,"abstract":"“Vaudeville Indians” on Global Circuits, 1880s– 1930s recovers five decades of vaudeville performers portraying “Indian” characters on North American and international stages. Drawing from archival research, Christine Bold focuses on the lives of eight vaudevillians, including Indigenous actors as well as non-Indigenous performers committing ethnic fraud to perform as “Indian” on popular stages.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"25 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":"135637573","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 traces the relationship between the Furies as depicted in T.S. Eliot’s The Family Reunion (1939) and the work of painter Francis Bacon. Bacon’s Three Studies for Figures at the Base of a Crucifixion (1944) – a triptych depicting three grotesque amorphous creatures, which he identified with the Furies – was directly inspired by The Family Reunion , which in turn draws on Aeschylus’ The Eumenides . Eliot’s play not only generated a creative response by Bacon that inaugurated his characteristic style; crucially, it also led him to the Oresteia as a source of inspiration that would be pivotal for his later career. In the play, Eliot’s goddesses of retribution pursue Harry, who is said to have perpetuated a family curse by murdering his wife. The integration of the Furies into a modern play with a Christian background and their visual representation on stage are central challenges of The Family Reunion , as Eliot acknowledged. Bacon represented the Furies as monsters in Three Studies , a triptych that evokes Christian iconography linked to mythology. There are, however, essential differences between Eliot’s and Bacon’s approaches. In The Family Reunion , the Furies become salvific “bright angels” offering Harry an escape from his private hell, whereas in Bacon’s representations, they remain monsters or birds of ill omen that never bring hope. Eliot eventually came to consider his Furies a dramatic failure, recommending they be invisible on stage and subsequently adhering to realism in his drama; for Bacon, the Furies became recurrent images of horror and guilt, haunting but inspirational.
{"title":"Destined to Hope or Remorse: T.S. Eliot, Francis Bacon, and Their Furies","authors":"DÍdac Llorens-Cubedo","doi":"10.3138/md-66-3-1268","DOIUrl":"https://doi.org/10.3138/md-66-3-1268","url":null,"abstract":"This article traces the relationship between the Furies as depicted in T.S. Eliot’s The Family Reunion (1939) and the work of painter Francis Bacon. Bacon’s Three Studies for Figures at the Base of a Crucifixion (1944) – a triptych depicting three grotesque amorphous creatures, which he identified with the Furies – was directly inspired by The Family Reunion , which in turn draws on Aeschylus’ The Eumenides . Eliot’s play not only generated a creative response by Bacon that inaugurated his characteristic style; crucially, it also led him to the Oresteia as a source of inspiration that would be pivotal for his later career. In the play, Eliot’s goddesses of retribution pursue Harry, who is said to have perpetuated a family curse by murdering his wife. The integration of the Furies into a modern play with a Christian background and their visual representation on stage are central challenges of The Family Reunion , as Eliot acknowledged. Bacon represented the Furies as monsters in Three Studies , a triptych that evokes Christian iconography linked to mythology. There are, however, essential differences between Eliot’s and Bacon’s approaches. In The Family Reunion , the Furies become salvific “bright angels” offering Harry an escape from his private hell, whereas in Bacon’s representations, they remain monsters or birds of ill omen that never bring hope. Eliot eventually came to consider his Furies a dramatic failure, recommending they be invisible on stage and subsequently adhering to realism in his drama; for Bacon, the Furies became recurrent images of horror and guilt, haunting but inspirational.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"64 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":"135637950","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}
Staged Readings argues that a blending of popular literary and theatrical cultures deeply informed class formation in nineteenth-century America – especially the emergence of a white middle class. This excellent study draws on a wide range of archival materials and includes significant analyses of Quaker City, temperance dramas, The Octoroon, and parlour theatricals.
{"title":"Michael D’alessandro. <i>Staged Readings: Contesting Class in Popular American Theater and Literature, 1835</i>–<i>75</i>","authors":"Laura L. Mielke","doi":"10.3138/md-66-3-rev03","DOIUrl":"https://doi.org/10.3138/md-66-3-rev03","url":null,"abstract":"Staged Readings argues that a blending of popular literary and theatrical cultures deeply informed class formation in nineteenth-century America – especially the emergence of a white middle class. This excellent study draws on a wide range of archival materials and includes significant analyses of Quaker City, temperance dramas, The Octoroon, and parlour theatricals.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"139 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":"135637568","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}
Taking its cue from T.S. Eliot’s early marionette poems, this article argues that the puppet, and the puppet-like, played a vital but critically neglected role in the development of Eliot’s early dramaturgy and its practical, though partial, realization in his first play, Sweeney Agonistes (1926–27). Eliot’s penumbral evocations of the marionette in his reviews of human performers from the early 1920s point to his fascination with grotesque and inhuman styles of performance. This critical stance, along with modernist theatre’s broader preoccupation with puppets, shaped Eliot’s first foray into writing for the stage, resulting in a work that behaves like a puppet play, both on the page and in performance. Drawing on archival materials, the article goes on to consider the stylistic and thematic features of Sweeney Agonistes in light of their resonances with puppet performances and discusses how certain stage productions, especially those directed by Hallie Flanagan and Rupert Doone in the 1930s, made these connections explicit. It concludes that despite Eliot’s departure from this dramaturgy in his later plays, his turn to drama had significant but unacknowledged, because largely renounced, roots in an aesthetics of performance whose ideals were best manifested by the puppet.
{"title":"Finding T.S. Eliot’s “Little Devils”: Marionettes and <i>Sweeney Agonistes</i>","authors":"Mert Dilek","doi":"10.3138/md-66-3-1260","DOIUrl":"https://doi.org/10.3138/md-66-3-1260","url":null,"abstract":"Taking its cue from T.S. Eliot’s early marionette poems, this article argues that the puppet, and the puppet-like, played a vital but critically neglected role in the development of Eliot’s early dramaturgy and its practical, though partial, realization in his first play, Sweeney Agonistes (1926–27). Eliot’s penumbral evocations of the marionette in his reviews of human performers from the early 1920s point to his fascination with grotesque and inhuman styles of performance. This critical stance, along with modernist theatre’s broader preoccupation with puppets, shaped Eliot’s first foray into writing for the stage, resulting in a work that behaves like a puppet play, both on the page and in performance. Drawing on archival materials, the article goes on to consider the stylistic and thematic features of Sweeney Agonistes in light of their resonances with puppet performances and discusses how certain stage productions, especially those directed by Hallie Flanagan and Rupert Doone in the 1930s, made these connections explicit. It concludes that despite Eliot’s departure from this dramaturgy in his later plays, his turn to drama had significant but unacknowledged, because largely renounced, roots in an aesthetics of performance whose ideals were best manifested by the puppet.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"29 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":"135638648","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}
abstract:Celebrating the importance of pedagogy in the founding editor's original vision for Modern Drama, this article begins and ends with a memoir of A. C. Edwards, who taught Marvin Carlson, the author's future doctoral mentor, and later the author himself at the University of Kansas. "In our days," Edwards wrote in the Foreword to the first issue of this journal in May of 1958, "it is too often assumed that research is the handmaiden of publication, whereas, as we all know, scholarly research may be done only in order to improve one's teaching." He practiced in his classroom what he preached. Trained as a medievalist in Old English philology at the University of Iowa, Edwards taught the dynamic relationship between written and spoken words, not only in Chaucer and Shakespeare but also in modern drama. A key technical challenge for modern dramatists, philologically understood, is how to represent unspoken thought. At this Henrik Ibsen excelled, and others have followed. Reading for "subtext," therefore, becomes both a compelling pedagogical approach and a rehearsal method, as demonstrated here by three first-hand accounts of faculty-directed student productions of plays by Ibsen and Suzan-Lori Parks.
{"title":"Founding Pedagogies of Modern Drama","authors":"Joseph R. Roach","doi":"10.3138/md-66-2-1281","DOIUrl":"https://doi.org/10.3138/md-66-2-1281","url":null,"abstract":"abstract:Celebrating the importance of pedagogy in the founding editor's original vision for Modern Drama, this article begins and ends with a memoir of A. C. Edwards, who taught Marvin Carlson, the author's future doctoral mentor, and later the author himself at the University of Kansas. \"In our days,\" Edwards wrote in the Foreword to the first issue of this journal in May of 1958, \"it is too often assumed that research is the handmaiden of publication, whereas, as we all know, scholarly research may be done only in order to improve one's teaching.\" He practiced in his classroom what he preached. Trained as a medievalist in Old English philology at the University of Iowa, Edwards taught the dynamic relationship between written and spoken words, not only in Chaucer and Shakespeare but also in modern drama. A key technical challenge for modern dramatists, philologically understood, is how to represent unspoken thought. At this Henrik Ibsen excelled, and others have followed. Reading for \"subtext,\" therefore, becomes both a compelling pedagogical approach and a rehearsal method, as demonstrated here by three first-hand accounts of faculty-directed student productions of plays by Ibsen and Suzan-Lori Parks.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"66 1","pages":"143 - 157"},"PeriodicalIF":0.3,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42800549","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}
Julius B. Fleming, Jr.’s Black Patience: Performance, Civil Rights, and the Unfinished Project of Emancipation examines the central years of the Civil Rights Movement and argues that Black theatre and performance were at the forefront of Black political activism that refused to wait any longer for Black freedom.
朱利叶斯·B·弗莱明（Julius B.Fleming，Jr.）的《黑人的耐心：表演、民权和未完成的解放计划》（Black Patience:Performance，Civil Rights，and the Unfinished Project of Liberation）审视了民权运动的中心年代，并认为黑人戏剧和表演是黑人政治激进主义的前沿，他们拒绝再等待黑人自由。
{"title":"Julius B. Fleming, Jr. Black Patience: Performance, Civil Rights, and the Unfinished Project of Emancipation","authors":"Rashida Z. Shaw McMahon","doi":"10.3138/md-66-2-rev1","DOIUrl":"https://doi.org/10.3138/md-66-2-rev1","url":null,"abstract":"Julius B. Fleming, Jr.’s Black Patience: Performance, Civil Rights, and the Unfinished Project of Emancipation examines the central years of the Civil Rights Movement and argues that Black theatre and performance were at the forefront of Black political activism that refused to wait any longer for Black freedom.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46239835","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}
abstract:This essay offers strategies that can lead students to engage with Gao Xingjian and his plays of the 1980s through an analytical and creative learning experience. Student project design focuses on three plays that were publicly staged in China during the 1980s: Alarm Signal, The Bus Stop, and Wild Man. Reflecting on the challenges inherent in approaching Gao's plays, I argue that students in North America require a pedagogy that foregrounds Gao's conceptualization of theatre as an actor-centered, instead of script-centered, performing art. The essay concludes that leading students to a deeper understanding of how Gao composed "performance texts" – rather than "texts to be voiced" – is critical to their understanding of these plays as a key link in the chain of China's drama and theatre history.
{"title":"Understanding Drama as Performance Texts: Teaching Gao Xingjian's Plays of the 1980s","authors":"Xing Fan","doi":"10.3138/md-66-2-1278","DOIUrl":"https://doi.org/10.3138/md-66-2-1278","url":null,"abstract":"abstract:This essay offers strategies that can lead students to engage with Gao Xingjian and his plays of the 1980s through an analytical and creative learning experience. Student project design focuses on three plays that were publicly staged in China during the 1980s: Alarm Signal, The Bus Stop, and Wild Man. Reflecting on the challenges inherent in approaching Gao's plays, I argue that students in North America require a pedagogy that foregrounds Gao's conceptualization of theatre as an actor-centered, instead of script-centered, performing art. The essay concludes that leading students to a deeper understanding of how Gao composed \"performance texts\" – rather than \"texts to be voiced\" – is critical to their understanding of these plays as a key link in the chain of China's drama and theatre history.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"66 1","pages":"277 - 295"},"PeriodicalIF":0.3,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42746947","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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