This book provides an account of four transatlantic theatre agents active from 1890 to 1925, examining the enabling conditions for their work. It reveals a hitherto hidden infrastructure of networked people and technologies of transport, communication, and media, which facilitated the international expansion of the entertainment industry in this era.
{"title":"Nic Leonhardt. Theatre Across Oceans: Mediators of Transatlantic Exchange (1890–1925).","authors":"K. Flaherty","doi":"10.3138/md-66-1-rev3","DOIUrl":"https://doi.org/10.3138/md-66-1-rev3","url":null,"abstract":"This book provides an account of four transatlantic theatre agents active from 1890 to 1925, examining the enabling conditions for their work. It reveals a hitherto hidden infrastructure of networked people and technologies of transport, communication, and media, which facilitated the international expansion of the entertainment industry in this era.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45477630","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 article recuperates Cheryl L. West’s domestic drama Before It Hits Home (1991) as a milestone in HIV/AIDS drama. Home is the first full-length play to examine the destructive impact of the HIV/AIDS epidemic on the African American community and one of the first HIV/AIDS plays written by an African American woman. Before It Hits Home has not received the scholarly recognition it deserves; this article aims to rectify that neglect with the help of Black studies and queer theory. In particular, the article undertakes an in-depth examination of the play’s overlooked spatio-temporal possibilities, demonstrating that West’s use of juxtapositions and overlaps offers an alternative to white and heteronormative spatio-temporalities. I argue that West’s liberating reconstruction of time and space not only queers white spectatorship but also resists a predominantly white HIV/AIDS canon. Building on Frantz Fanon’s notion of disalienation, I further conclude that West’s theatre destigmatizes the seropositive diagnosis, allowing for emancipatory possibilities.
{"title":"Revisiting HIV/AIDS Theatre: Black and Queer Spatio-Temporalities in Cheryl L. West’s Before It Hits Home","authors":"Çağdaş Duman","doi":"10.3138/md-66-1-1171","DOIUrl":"https://doi.org/10.3138/md-66-1-1171","url":null,"abstract":"abstract:This article recuperates Cheryl L. West’s domestic drama Before It Hits Home (1991) as a milestone in HIV/AIDS drama. Home is the first full-length play to examine the destructive impact of the HIV/AIDS epidemic on the African American community and one of the first HIV/AIDS plays written by an African American woman. Before It Hits Home has not received the scholarly recognition it deserves; this article aims to rectify that neglect with the help of Black studies and queer theory. In particular, the article undertakes an in-depth examination of the play’s overlooked spatio-temporal possibilities, demonstrating that West’s use of juxtapositions and overlaps offers an alternative to white and heteronormative spatio-temporalities. I argue that West’s liberating reconstruction of time and space not only queers white spectatorship but also resists a predominantly white HIV/AIDS canon. Building on Frantz Fanon’s notion of disalienation, I further conclude that West’s theatre destigmatizes the seropositive diagnosis, allowing for emancipatory possibilities.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"66 1","pages":"71 - 90"},"PeriodicalIF":0.3,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43127721","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}
Elizabeth Brewer Redwine’s Gender, Performance, and Authorship at the Abbey Theatre turns to female actors, exposing and analysing their influence on texts and performances associated with Ireland’s Abbey Theatre and its architects. It recovers the neglected history of these women’s contributions to plays attributed solely to W.B. Yeats and J.M. Synge.
伊丽莎白·布鲁尔·雷德温（Elizabeth Brewer Redwine）的《阿比剧院的性别、表演和作者》（Gender，Performance，and Authorship at the Abbey Theatre）转向了女性演员，揭露并分析了她们对爱尔兰阿比剧院及其建筑师相关文本和表演的影响。它恢复了被忽视的历史，这些女性对戏剧的贡献完全归功于叶芝和辛格。
{"title":"Elizabeth Brewer Redwine. Gender, Performance, and Authorship at the Abbey Theatre","authors":"Paige Reynolds","doi":"10.3138/md-66-1-rev5","DOIUrl":"https://doi.org/10.3138/md-66-1-rev5","url":null,"abstract":"Elizabeth Brewer Redwine’s Gender, Performance, and Authorship at the Abbey Theatre turns to female actors, exposing and analysing their influence on texts and performances associated with Ireland’s Abbey Theatre and its architects. It recovers the neglected history of these women’s contributions to plays attributed solely to W.B. Yeats and J.M. Synge.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42969756","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 article examines Tennessee Williams’s kabuki-inspired plays, which were written after his first trip to Japan in 1959. I focus on And Tell Sad Stories of the Deaths of Queens… (1957–70), which Williams began writing in 1957 but completed after his trip to Japan, and the 1964 version of The Milk Train Doesn’t Stop Here Anymore, a play that Williams rewrote several times from 1962 to 1964. In so doing, I demonstrate how Williams used and modified kabuki traditions under the guidance of his Japanese friend, the acclaimed novelist and playwright Yukio Mishima. In And Tell Sad Stories of the Deaths of Queens… the art of acting by the onnagata (male actors who play female roles in kabuki), especially those who live as “women” even off stage, underlies the male protagonist’s exploration of transgender identity as well as his female gender presentation. In The Milk Train Doesn’t Stop Here Anymore, Williams seeks to transform the perceived grotesqueries of aging into allure by using kabuki’s aesthetic principles of “grotesque beauty” and “necrophilic” nostalgia, which had also been expressed in Hollywood films featuring older movie actresses. He deliberately wrote the role of the female protagonist for Tallulah Bankhead, who starred in the 1964 production, with the intention of celebrating her aging body through kabuki aesthetics.
{"title":"Onnagata, Grotesque Beauty, and Aging: Reading Tennessee Williams’s Kabuki-Inspired Plays","authors":"Takashi Sakai","doi":"10.3138/md-66-1-1168","DOIUrl":"https://doi.org/10.3138/md-66-1-1168","url":null,"abstract":"abstract:This article examines Tennessee Williams’s kabuki-inspired plays, which were written after his first trip to Japan in 1959. I focus on And Tell Sad Stories of the Deaths of Queens… (1957–70), which Williams began writing in 1957 but completed after his trip to Japan, and the 1964 version of The Milk Train Doesn’t Stop Here Anymore, a play that Williams rewrote several times from 1962 to 1964. In so doing, I demonstrate how Williams used and modified kabuki traditions under the guidance of his Japanese friend, the acclaimed novelist and playwright Yukio Mishima. In And Tell Sad Stories of the Deaths of Queens… the art of acting by the onnagata (male actors who play female roles in kabuki), especially those who live as “women” even off stage, underlies the male protagonist’s exploration of transgender identity as well as his female gender presentation. In The Milk Train Doesn’t Stop Here Anymore, Williams seeks to transform the perceived grotesqueries of aging into allure by using kabuki’s aesthetic principles of “grotesque beauty” and “necrophilic” nostalgia, which had also been expressed in Hollywood films featuring older movie actresses. He deliberately wrote the role of the female protagonist for Tallulah Bankhead, who starred in the 1964 production, with the intention of celebrating her aging body through kabuki aesthetics.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"66 1","pages":"26 - 47"},"PeriodicalIF":0.3,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44319058","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 Baroque Modernity, Joseph Cermatori upends received ideas about modernism’s anti-theatricality by carefully identifying, and closely unpacking, the surprising strains of baroque theatricality running through works by Nietzsche, Mallarmé, Benjamin, Stein, and others. The book also illuminates the necessity of modern philosophy to modern drama and theatre – and vice versa.
{"title":"Joseph Cermatori. Baroque Modernity: An Aesthetics of Theater","authors":"Nick Salvato","doi":"10.3138/md-66-1-rev1","DOIUrl":"https://doi.org/10.3138/md-66-1-rev1","url":null,"abstract":"In Baroque Modernity, Joseph Cermatori upends received ideas about modernism’s anti-theatricality by carefully identifying, and closely unpacking, the surprising strains of baroque theatricality running through works by Nietzsche, Mallarmé, Benjamin, Stein, and others. The book also illuminates the necessity of modern philosophy to modern drama and theatre – and vice versa.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46894720","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}
{"title":"Outstanding Article Award for 2022","authors":"","doi":"10.3138/md.66.1.n","DOIUrl":"https://doi.org/10.3138/md.66.1.n","url":null,"abstract":"","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"201 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135288593","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 article argues that Tennessee Williams’s A Streetcar Named Desire offers a broad critique of eugenic ideology, epitomized in Williams’s choice to end the play with Blanche DuBois’s forced institutionalization. By comparing the published 1947 play with eight distinct draft Streetcar scenes archived at the Harry Ransom Center at the University of Texas at Austin, I recover Williams’s dramatic critiques of the cruelty of twentieth-century American eugenic social policy. Over the course of Streetcar’s drafts, Williams accentuates Blanche’s increasing loss of reproductive and bodily control, emphasizes the stigmatization of her mental health, exposes pervasive eugenic assumptions articulated by Blanche herself, and explores the eugenic potential of a DuBois-Kowalski child born to either Blanche or her sister Stella. This article thus proposes a feminist, anti-eugenic reading of Streetcar attuned to the impact of the sexist, ableist, racist, and classist rhetoric of the American eugenics movement on the play and then-contemporary US social policy.
{"title":"The Kindness of Strangers: Eugenics and Tennessee Williams’s A Streetcar Named Desire","authors":"Kaitlyn Farrell Rodriguez","doi":"10.3138/md-66-1-1249","DOIUrl":"https://doi.org/10.3138/md-66-1-1249","url":null,"abstract":"abstract:This article argues that Tennessee Williams’s A Streetcar Named Desire offers a broad critique of eugenic ideology, epitomized in Williams’s choice to end the play with Blanche DuBois’s forced institutionalization. By comparing the published 1947 play with eight distinct draft Streetcar scenes archived at the Harry Ransom Center at the University of Texas at Austin, I recover Williams’s dramatic critiques of the cruelty of twentieth-century American eugenic social policy. Over the course of Streetcar’s drafts, Williams accentuates Blanche’s increasing loss of reproductive and bodily control, emphasizes the stigmatization of her mental health, exposes pervasive eugenic assumptions articulated by Blanche herself, and explores the eugenic potential of a DuBois-Kowalski child born to either Blanche or her sister Stella. This article thus proposes a feminist, anti-eugenic reading of Streetcar attuned to the impact of the sexist, ableist, racist, and classist rhetoric of the American eugenics movement on the play and then-contemporary US social policy.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"66 1","pages":"1 - 21"},"PeriodicalIF":0.3,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44320365","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}
Over the past five years, a number of Black British women authors have written what might be called postcolonial ghost plays. This article focuses, to varying degrees, on four: ear for eye (2018), debbie tucker green’s dissection of enslavement and its afterlives; Rockets and Blue Lights (2020), Winsome Pinnock’s historical film-within-a-play about the Middle Passage; The Gift (2020), Janice Okoh’s semi-biography of an African girl who became Queen Victoria’s ward; and Selina Thompson’s salt. (2018), an autobiographical performance piece tracing her ancestors’ enslavement. Ghosts and haunting, which I examine from multiple perspectives, appear across this range of theatrical genres. With their multiple, doubled, spectral, interpenetrating stories, tucker green, Pinnock, Okoh, and Thompson’s postcolonial ghost plays reactivate the past of enslavement that has not passed, that is still active in the form of racial and social injustices today. Ghosts, prevalent across the plays, represent the dead who, plumbing the depths of the Middle Passage, are denied a resting place. The ghost, the figure of the living dead par excellence, reflects the dehumanization of trafficked Africans, from whom their enslavers sought to subtract all subjectivity. Ghosts, too, reveal the work of mourning performed by the living for those who were never properly buried. This mourning exposes and disrupts enduring structures of injustice, and searches for reparation. Ghosts, or revenants, returning and refusing to rest, represent the resilient resistance to injustice. Finally, ghosts, neither fully past nor present, absent or present, symbolize indeterminacy and instability, illustrated in the plays by subjects determined to take control of their own identities and destinies. Together, these plays demonstrate how we must look back to the roots of historical racism in order to look forward to its eradication.
{"title":"The Afterlives of Enslavement: Histories of Racial Injustice in Contemporary Black British Theatre","authors":"Clare Finburgh Delijani","doi":"10.3138/md-65-4-1239","DOIUrl":"https://doi.org/10.3138/md-65-4-1239","url":null,"abstract":"Over the past five years, a number of Black British women authors have written what might be called postcolonial ghost plays. This article focuses, to varying degrees, on four: ear for eye (2018), debbie tucker green’s dissection of enslavement and its afterlives; Rockets and Blue Lights (2020), Winsome Pinnock’s historical film-within-a-play about the Middle Passage; The Gift (2020), Janice Okoh’s semi-biography of an African girl who became Queen Victoria’s ward; and Selina Thompson’s salt. (2018), an autobiographical performance piece tracing her ancestors’ enslavement. Ghosts and haunting, which I examine from multiple perspectives, appear across this range of theatrical genres. With their multiple, doubled, spectral, interpenetrating stories, tucker green, Pinnock, Okoh, and Thompson’s postcolonial ghost plays reactivate the past of enslavement that has not passed, that is still active in the form of racial and social injustices today. Ghosts, prevalent across the plays, represent the dead who, plumbing the depths of the Middle Passage, are denied a resting place. The ghost, the figure of the living dead par excellence, reflects the dehumanization of trafficked Africans, from whom their enslavers sought to subtract all subjectivity. Ghosts, too, reveal the work of mourning performed by the living for those who were never properly buried. This mourning exposes and disrupts enduring structures of injustice, and searches for reparation. Ghosts, or revenants, returning and refusing to rest, represent the resilient resistance to injustice. Finally, ghosts, neither fully past nor present, absent or present, symbolize indeterminacy and instability, illustrated in the plays by subjects determined to take control of their own identities and destinies. Together, these plays demonstrate how we must look back to the roots of historical racism in order to look forward to its eradication.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45138932","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}
{"title":"S.E. Jackson, The Problem of the Actress in Modern German Theatre and Thought","authors":"G. Pailer","doi":"10.3138/md-65-4-br4","DOIUrl":"https://doi.org/10.3138/md-65-4-br4","url":null,"abstract":"","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45415829","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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