Negotiating Copyright in the American Theatre: 1856–1951 offers a nuanced exploration of the legal negotiations that shaped American theatre and authors’ rights therein. The book’s meticulous, granular investigation into these negotiations yields both a compelling narrative and a multilayered account of their ideological, legal, cultural, and social stakes.
{"title":"Brent Salter. Negotiating Copyright in the American Theatre: 1856–1951","authors":"George Pate","doi":"10.3138/md-66-2-rev7","DOIUrl":"https://doi.org/10.3138/md-66-2-rev7","url":null,"abstract":"Negotiating Copyright in the American Theatre: 1856–1951 offers a nuanced exploration of the legal negotiations that shaped American theatre and authors’ rights therein. The book’s meticulous, granular investigation into these negotiations yields both a compelling narrative and a multilayered account of their ideological, legal, cultural, and social stakes.","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":"43076815","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 commendably archive-reliant book on Irish theatre covers the period 1951–77, taking the reader through the economic, sociopolitical, and cultural events of these years with confidence and efficiency. It asserts different ways of contextualizing the production and reception of many crucial performances, predominantly those staged in the Republic of Ireland.
{"title":"Barry Houlihan. <i>Theatre and Archival Memory: Irish Drama and Marginalised Histories, 1951–1977</i>","authors":"Eamonn Jordan","doi":"10.3138/md-66-2-rev2","DOIUrl":"https://doi.org/10.3138/md-66-2-rev2","url":null,"abstract":"This commendably archive-reliant book on Irish theatre covers the period 1951–77, taking the reader through the economic, sociopolitical, and cultural events of these years with confidence and efficiency. It asserts different ways of contextualizing the production and reception of many crucial performances, predominantly those staged in the Republic of Ireland.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136177893","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}
Moving Islands: Contemporary Performance and the Global Pacific, by Diana Looser, affirms the region’s cultural importance and global relevance. Moving Islands issues a specific challenge to theatre and performance studies scholars to pay attention to the Pacific and comprehensively engage with its dynamic contribution to global performance.
{"title":"Diana Looser. Moving Islands: Contemporary Performance and the Global Pacific","authors":"James Wenley","doi":"10.3138/md-66-2-rev5","DOIUrl":"https://doi.org/10.3138/md-66-2-rev5","url":null,"abstract":"Moving Islands: Contemporary Performance and the Global Pacific, by Diana Looser, affirms the region’s cultural importance and global relevance. Moving Islands issues a specific challenge to theatre and performance studies scholars to pay attention to the Pacific and comprehensively engage with its dynamic contribution to global performance.","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":"43844805","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}
In Timelines: writings and conversations, Bonnie Marranca, co-founder, publisher, and editor of PAJ Publications, shares personal reflections on performance, visual arts, and writing. Many of the thirty-four short pieces are intimate dispatches from a working life consumed by interlocking topics: presence, reality, experimentation, spirituality, theatre, and arts institutions.
{"title":"Bonnie Marranca. Timelines: writings and conversations","authors":"Hillary Miller","doi":"10.3138/md-66-2-rev6","DOIUrl":"https://doi.org/10.3138/md-66-2-rev6","url":null,"abstract":"In Timelines: writings and conversations, Bonnie Marranca, co-founder, publisher, and editor of PAJ Publications, shares personal reflections on performance, visual arts, and writing. Many of the thirty-four short pieces are intimate dispatches from a working life consumed by interlocking topics: presence, reality, experimentation, spirituality, theatre, and arts institutions.","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":"49201673","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 proposes adaptation as a teaching strategy with which students can explore deeper understandings of any drama, using the case study of Medea by Euripides. By assigning comparative analysis of (translations of) Euripides' play alongside two twenty-first century adaptations written by Chicanx playwrights Luis Alfaro (Mojada) and Cherríe Moraga (The Hungry Woman), I invite students to uncover dramaturgical discoveries through considerations of what I have called "the spirit of the source," alongside analyses of the palimpsestuousness of the dramas and my spectator-based model of adapturgy. I argue that Medea's traits and actions of unbecoming emerge as a thread connecting all versions of the eponymous plays, a theme rarely recognized by students without the revelations provided by adaptation pedagogy.
{"title":"Learning to Love Medea: The Hungry Woman, Mojada, and the Pedagogy of Adaptation","authors":"Jane Barnette","doi":"10.3138/md-66-2-1277","DOIUrl":"https://doi.org/10.3138/md-66-2-1277","url":null,"abstract":"abstract:This essay proposes adaptation as a teaching strategy with which students can explore deeper understandings of any drama, using the case study of Medea by Euripides. By assigning comparative analysis of (translations of) Euripides' play alongside two twenty-first century adaptations written by Chicanx playwrights Luis Alfaro (Mojada) and Cherríe Moraga (The Hungry Woman), I invite students to uncover dramaturgical discoveries through considerations of what I have called \"the spirit of the source,\" alongside analyses of the palimpsestuousness of the dramas and my spectator-based model of adapturgy. I argue that Medea's traits and actions of unbecoming emerge as a thread connecting all versions of the eponymous plays, a theme rarely recognized by students without the revelations provided by adaptation pedagogy.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"66 1","pages":"203 - 224"},"PeriodicalIF":0.3,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45909820","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:George C. Wolfe's The Colored Museum is one of the most significant experimental theatre texts of the post-Civil Rights era. The play's impact on the contemporary dramaturgical imagination is perhaps best measured by and reflected in the various works it has inspired in recent years. For several contemporary Black playwrights, Wolfe's complex structure, characterization, and plotting have served as vital springboards for crafting their own formally and thematically inventive scripts. Teaching Robert O'Hara's Bootycandy (2011) and Jordan E. Cooper's Ain't No Mo' (2019) in conversation with Wolfe's foundational play proves particularly generative for contemplating the ways a spirit of experimentation continues to vitalize Black cultural production in the twenty-first century. This article reflects on my pedagogical approach to analyzing The Colored Museum and its contemporary doubles with students, highlighting some of the insights that doing so has revealed about the artistic and ideological sensibilities suffusing post-Civil Rights African-American drama and theatre. I focus on the nuanced conversations about Black queer theatrical aesthetics that exploring Wolfe, O'Hara, and Cooper's plays enables and engenders in the classroom. I also demonstrate how teaching these plays creates rich opportunities to introduce students to some of the key concepts and ideas animating queer studies while also enriching their understanding of African American dramatic literature as a crucial site of knowledge production and aesthetic and cultural disruption.
乔治·沃尔夫的《有色人种博物馆》是后民权时代最重要的实验戏剧文本之一。这部戏剧对当代戏剧想象力的影响也许最好的衡量和反映在近年来它所激发的各种作品中。对于一些当代黑人剧作家来说，沃尔夫复杂的结构、人物塑造和情节都是他们创作自己的形式和主题创造性剧本的重要跳板。教授罗伯特·奥哈拉的《Bootycandy》(2011年)和乔丹·e·库珀的《Ain't No Mo》(2019年)与沃尔夫的基础戏剧对话，特别有助于思考实验精神在21世纪继续振兴黑人文化生产的方式。这篇文章反映了我分析《有色人种博物馆》及其当代学生的教学方法，强调了这样做所揭示的关于民权运动后美国黑人戏剧和戏剧的艺术和意识形态敏感性的一些见解。我关注的是关于黑人酷儿戏剧美学的微妙对话，这些对话是通过探索沃尔夫、奥哈拉和库珀的戏剧在课堂上产生的。我还展示了教授这些戏剧如何创造了丰富的机会，向学生介绍一些重要的概念和思想，这些概念和思想激发了酷儿研究的活力，同时也丰富了他们对非裔美国戏剧文学的理解，这些文学是知识生产、审美和文化破坏的关键场所。
{"title":"Teaching The Colored Museum and Its Doubles: Black Queer Theatrical Aesthetics in Bootycandy and Ain't No Mo'","authors":"I. Wooden","doi":"10.3138/md-66-2-1282","DOIUrl":"https://doi.org/10.3138/md-66-2-1282","url":null,"abstract":"abstract:George C. Wolfe's The Colored Museum is one of the most significant experimental theatre texts of the post-Civil Rights era. The play's impact on the contemporary dramaturgical imagination is perhaps best measured by and reflected in the various works it has inspired in recent years. For several contemporary Black playwrights, Wolfe's complex structure, characterization, and plotting have served as vital springboards for crafting their own formally and thematically inventive scripts. Teaching Robert O'Hara's Bootycandy (2011) and Jordan E. Cooper's Ain't No Mo' (2019) in conversation with Wolfe's foundational play proves particularly generative for contemplating the ways a spirit of experimentation continues to vitalize Black cultural production in the twenty-first century. This article reflects on my pedagogical approach to analyzing The Colored Museum and its contemporary doubles with students, highlighting some of the insights that doing so has revealed about the artistic and ideological sensibilities suffusing post-Civil Rights African-American drama and theatre. I focus on the nuanced conversations about Black queer theatrical aesthetics that exploring Wolfe, O'Hara, and Cooper's plays enables and engenders in the classroom. I also demonstrate how teaching these plays creates rich opportunities to introduce students to some of the key concepts and ideas animating queer studies while also enriching their understanding of African American dramatic literature as a crucial site of knowledge production and aesthetic and cultural disruption.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"66 1","pages":"225 - 241"},"PeriodicalIF":0.3,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69408119","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:I have been teaching undergraduate and graduate courses in play-analysis, developmental dramaturgy, adaptation and new play creation for almost two decades. Trained within structural and semiotic approaches to text and performance analysis with emergence of what David Barnett calls "postdramatic theatre texts" (2008:14) and recent calls for decolonizing curriculum, I found myself at a philosophical and theoretical crossroads. This article summarizes my teaching practice and philosophy as inflected through decolonial methods. It argues for our need to teach students to simultaneously position every dramatic text within the critical lens of structural play-analysis and their historical/cultural contextualization or dramaturgical concretization (Vodička 1975). The twenty-first century dramatic texts I teach are often located within the postdramatic European theatre and performance canon (Lehmann 2006), as well as within postcolonial and Indigenous traditions of storytelling. The three plays I chose as my case studies—Arabian Night (2003) by German playwright Roland Schimmelpfennig, Bintou (2002) by Koffi Kwahulé, a Côte d'Ivoire writer living in France, and Burning Vision (2003) by Marie Clements, a Canadian Metis theatre artist—constitute the core of my syllabus for a graduate course in dramaturgy.
{"title":"Decolonizing Curriculum: Teaching the Twenty-First-Century Dramatic Canon","authors":"Yana Meerzon","doi":"10.3138/md-66-2-1280","DOIUrl":"https://doi.org/10.3138/md-66-2-1280","url":null,"abstract":"abstract:I have been teaching undergraduate and graduate courses in play-analysis, developmental dramaturgy, adaptation and new play creation for almost two decades. Trained within structural and semiotic approaches to text and performance analysis with emergence of what David Barnett calls \"postdramatic theatre texts\" (2008:14) and recent calls for decolonizing curriculum, I found myself at a philosophical and theoretical crossroads. This article summarizes my teaching practice and philosophy as inflected through decolonial methods. It argues for our need to teach students to simultaneously position every dramatic text within the critical lens of structural play-analysis and their historical/cultural contextualization or dramaturgical concretization (Vodička 1975). The twenty-first century dramatic texts I teach are often located within the postdramatic European theatre and performance canon (Lehmann 2006), as well as within postcolonial and Indigenous traditions of storytelling. The three plays I chose as my case studies—Arabian Night (2003) by German playwright Roland Schimmelpfennig, Bintou (2002) by Koffi Kwahulé, a Côte d'Ivoire writer living in France, and Burning Vision (2003) by Marie Clements, a Canadian Metis theatre artist—constitute the core of my syllabus for a graduate course in dramaturgy.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"66 1","pages":"256 - 276"},"PeriodicalIF":0.3,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45695960","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 monograph discusses Piscator’s early career, contexts, and concepts leading up to his four intermediated stage productions of 1927–28. It examines how these productions influenced his own later documentary theatre, the plays of his contemporary Bertolt Brecht, and generations of subsequent theatre avant-gardists in the United States and Germany.
{"title":"Drew Lichtenberg. The Piscatorbühne Century: Politics and Aesthetics in the Modern Theater after 1927","authors":"Markus Wessendorf","doi":"10.3138/md-66-2-rev4","DOIUrl":"https://doi.org/10.3138/md-66-2-rev4","url":null,"abstract":"This monograph discusses Piscator’s early career, contexts, and concepts leading up to his four intermediated stage productions of 1927–28. It examines how these productions influenced his own later documentary theatre, the plays of his contemporary Bertolt Brecht, and generations of subsequent theatre avant-gardists in the United States and Germany.","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":"46557419","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:Following its 2013 Pulitzer Prize win and various productions across the country and abroad, Ayad Akhtar's Disgraced has become a popular play to include in Theatre History syllabi. It is also one of very few plays written by a MENASA playwright to secure a place in the canon of contemporary American drama. Yet the content of Disgraced has been widely misunderstood and misinterpreted. A meeting point for contrasting ideas, the play has continuously excited and engaged but also confused and provoked students. This article proposes a re-framing of the play as a pedagogical tool to introduce and expand on Edward Said's Orientalism and its implications and manifestations in contemporary culture and media. By chronicling experiences teaching the play to undergraduate students of theatre, this article investigates the ways in which the play's main concerns, and tension points, can be explored and conscientiously addressed in the drama classroom.
{"title":"Teaching Ayad Akhtar's Disgraced: Navigating Islamophobia and Orientalism in the Drama Classroom","authors":"T. Abadian","doi":"10.3138/md-66-2-1276","DOIUrl":"https://doi.org/10.3138/md-66-2-1276","url":null,"abstract":"abstract:Following its 2013 Pulitzer Prize win and various productions across the country and abroad, Ayad Akhtar's Disgraced has become a popular play to include in Theatre History syllabi. It is also one of very few plays written by a MENASA playwright to secure a place in the canon of contemporary American drama. Yet the content of Disgraced has been widely misunderstood and misinterpreted. A meeting point for contrasting ideas, the play has continuously excited and engaged but also confused and provoked students. This article proposes a re-framing of the play as a pedagogical tool to introduce and expand on Edward Said's Orientalism and its implications and manifestations in contemporary culture and media. By chronicling experiences teaching the play to undergraduate students of theatre, this article investigates the ways in which the play's main concerns, and tension points, can be explored and conscientiously addressed in the drama classroom.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"66 1","pages":"242 - 255"},"PeriodicalIF":0.3,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43985052","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}
Esther Kim Lee introduces a new way to understand yellowface performance in the United States during the exclusion era: as a technology of knowing that reinvents itself through creative practices that exclude real Asians. Lee’s detailed archive contributes significantly to theatre and performance studies and to media and film studies.
Esther Kim Lee介绍了一种新的方式来理解美国在排斥时代的黄脸表现：作为一种通过排斥真实亚洲人的创造性实践来重塑自己的认知技术。李的详细档案为戏剧和表演研究以及媒体和电影研究做出了重大贡献。
{"title":"Esther Kim Lee. Made-Up Asians: Yellowface During the Exclusion Era","authors":"C. Daniher","doi":"10.3138/md-66-2-rev3","DOIUrl":"https://doi.org/10.3138/md-66-2-rev3","url":null,"abstract":"Esther Kim Lee introduces a new way to understand yellowface performance in the United States during the exclusion era: as a technology of knowing that reinvents itself through creative practices that exclude real Asians. Lee’s detailed archive contributes significantly to theatre and performance studies and to media and film studies.","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":"49248823","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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