Translocas: The Politics of Puerto Rican Drag and Trans Performance examines the creative works, aesthetic practices, and lives of gender-nonconforming people, filling an important void in trans studies. Documenting the creative knowledge production of trans and drag performers produces a much-needed living archive that has been historically suppressed and erased.
Translocas:The Politics of Puerto Rica Drag and Trans Performance考察了不符合性别的人的创作、审美实践和生活，填补了跨性别研究的一个重要空白。记录跨性别和变装表演者的创造性知识生产，产生了一个急需的活生生的档案，这个档案在历史上一直被压制和抹去。
{"title":"Lawrence La Fountain-Stokes, Translocas: The Politics of Puerto Rican Drag and Trans Performance","authors":"Patricia E. Herrera","doi":"10.3138/md-65-3-br03","DOIUrl":"https://doi.org/10.3138/md-65-3-br03","url":null,"abstract":"Translocas: The Politics of Puerto Rican Drag and Trans Performance examines the creative works, aesthetic practices, and lives of gender-nonconforming people, filling an important void in trans studies. Documenting the creative knowledge production of trans and drag performers produces a much-needed living archive that has been historically suppressed and erased.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49259090","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:The abundance of Bible story–based plots and preponderance of Jewish lyricists in musical theatre suggests religion should play a central role in its study. Yet religion is not a major theme in musical theatre criticism. This article suggests this silence is a symptomatic forgetfulness of the default secular operative in American musical theatre and its analysts in theatre studies. Focusing on Stephen Sondheim (1930–2021) as an artist of particular accomplishment within the raced, gendered, and religious aesthetic of the American musical’s secularism, it examines “Sunday,” the Act One closer to Sunday in the Park with George (1984), as a climax of such expression. “Sunday” is an instruction manual on what the secular is, conveying in its lyrics, compositional location, and author’s autobiography the story of religion’s hiddenness in the American musical. Sondheim’s “Sunday” is a way to see how musical theatre regulates religion on stage.
{"title":"Pausing on a Sunday: Sondheim and the Composition of the Secular in the American Musical","authors":"Kathryn Lofton","doi":"10.3138/md.65-3-1199","DOIUrl":"https://doi.org/10.3138/md.65-3-1199","url":null,"abstract":"abstract:The abundance of Bible story–based plots and preponderance of Jewish lyricists in musical theatre suggests religion should play a central role in its study. Yet religion is not a major theme in musical theatre criticism. This article suggests this silence is a symptomatic forgetfulness of the default secular operative in American musical theatre and its analysts in theatre studies. Focusing on Stephen Sondheim (1930–2021) as an artist of particular accomplishment within the raced, gendered, and religious aesthetic of the American musical’s secularism, it examines “Sunday,” the Act One closer to Sunday in the Park with George (1984), as a climax of such expression. “Sunday” is an instruction manual on what the secular is, conveying in its lyrics, compositional location, and author’s autobiography the story of religion’s hiddenness in the American musical. Sondheim’s “Sunday” is a way to see how musical theatre regulates religion on stage.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"65 1","pages":"355 - 380"},"PeriodicalIF":0.3,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44714961","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:Although British playwright Edward Bond is well known for his early plays during the 1960s–80s, his later works, from the late 1990s onward, have been relatively overlooked and underexplored. In this article, I aim to bridge these two phases and propose a theoretical framework to approach Bond’s evolution as a playwright. I will first examine Bond’s critical engagement with Brecht, and then I will proceed to analyse Bond’s evolving dramaturgy of the Holocaust, which will help to demonstrate how Bond has developed what we might call his post-Auschwitz dramaturgy. While criticizing Brecht’s theatre for being the “Theatre of Auschwitz,” Bond bases his post-Brechtian dramaturgy on his specific understanding of the infamous Nazi concentration camp. Bond regards Auschwitz as not only a localized historical event but also a trans-historical structure of biopolitics, manifested in both the camp and an ensuing neoliberal capitalist system. By drawing on two pivotal passages of the Palermo improvisation (which took place in 1983) and the Russian guard’s story, both of which Bond describes in “Commentary on The War Plays” (1991), I will elucidate how these examples herald a “ post-Auschwitz” dramaturgical model that can be understood through Emmanuel Levi-nas’s ethics and Giorgio Agamben’s biopolitics. Building on this analysis, I will analyse Bond’s plays The Crime of the Twenty-First Century (1999) and Born (2006) to argue that it is the dissonance between the biopolitical paradigm exemplified in Auschwitz and the human subject’s fundamental creativity that defines Bond’s later works.
{"title":"Post-Auschwitz Dramaturgy: Toward the Later Edward Bond","authors":"Chien‐Cheng Chen","doi":"10.3138/md-65-3-1121","DOIUrl":"https://doi.org/10.3138/md-65-3-1121","url":null,"abstract":"abstract:Although British playwright Edward Bond is well known for his early plays during the 1960s–80s, his later works, from the late 1990s onward, have been relatively overlooked and underexplored. In this article, I aim to bridge these two phases and propose a theoretical framework to approach Bond’s evolution as a playwright. I will first examine Bond’s critical engagement with Brecht, and then I will proceed to analyse Bond’s evolving dramaturgy of the Holocaust, which will help to demonstrate how Bond has developed what we might call his post-Auschwitz dramaturgy. While criticizing Brecht’s theatre for being the “Theatre of Auschwitz,” Bond bases his post-Brechtian dramaturgy on his specific understanding of the infamous Nazi concentration camp. Bond regards Auschwitz as not only a localized historical event but also a trans-historical structure of biopolitics, manifested in both the camp and an ensuing neoliberal capitalist system. By drawing on two pivotal passages of the Palermo improvisation (which took place in 1983) and the Russian guard’s story, both of which Bond describes in “Commentary on The War Plays” (1991), I will elucidate how these examples herald a “ post-Auschwitz” dramaturgical model that can be understood through Emmanuel Levi-nas’s ethics and Giorgio Agamben’s biopolitics. Building on this analysis, I will analyse Bond’s plays The Crime of the Twenty-First Century (1999) and Born (2006) to argue that it is the dissonance between the biopolitical paradigm exemplified in Auschwitz and the human subject’s fundamental creativity that defines Bond’s later works.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"65 1","pages":"429 - 448"},"PeriodicalIF":0.3,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45091472","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}
The Colonial Public and the Parsi Stage provides a rich, detailed, and contextual history of Parsi theatre, a major South Asian cultural phenomenon, through a meticulous examination of rare archives. Relocating imperial history in the colonies, the book convincingly analyses Parsi theatre in relation to the vernacular public sphere.
{"title":"Rashna Darius Nicholson, The Colonial Public and the Parsi Stage: The Making of the Theatre of Empire (1853–1893)","authors":"Abhimanyu Acharya","doi":"10.3138/md-65-3-br06","DOIUrl":"https://doi.org/10.3138/md-65-3-br06","url":null,"abstract":"The Colonial Public and the Parsi Stage provides a rich, detailed, and contextual history of Parsi theatre, a major South Asian cultural phenomenon, through a meticulous examination of rare archives. Relocating imperial history in the colonies, the book convincingly analyses Parsi theatre in relation to the vernacular public sphere.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41604107","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}
Tom Stoppard: A Life is a thorough, authorized, major critical biography of the playwright Tom Stoppard, covering his sixty-year career in the British theatre and on the world stage, 1960–2020. This is an excellent, academically compelling, popular reading of Stoppard’s plays and films and a thoroughly documented life of a high-profile man of the theatre.
{"title":"Hermione Lee, Tom Stoppard: A Life","authors":"William W. Demastes","doi":"10.3138/md-65-3-br04","DOIUrl":"https://doi.org/10.3138/md-65-3-br04","url":null,"abstract":"Tom Stoppard: A Life is a thorough, authorized, major critical biography of the playwright Tom Stoppard, covering his sixty-year career in the British theatre and on the world stage, 1960–2020. This is an excellent, academically compelling, popular reading of Stoppard’s plays and films and a thoroughly documented life of a high-profile man of the theatre.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47499222","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 considers the applicability of Bertolt Brecht’s most radical formal innovation, the Lehrstück or learning play, to a play that is neither written in the Brechtian tradition nor ostensibly a Lehrstück itself. J.B. Priestley’s An Inspector Calls (1944) is a popular play often considered “political” by reviewers, yet it proposes no fundamental change to the political landscape its seeks to critique. Brecht’s Lehrstück, which dissolves the boundary between actor and spectator, offers a different mode of performance that actively confronts performers with the implications of their fictional counterparts and invites reflection on how the problems presented might be addressed. The article identifies the political shortcomings of Priestley’s play and introduces Brechtian categories into the analysis and performance of the play before radicalizing these by transforming An Inspector Calls into a Lehrstück. The process the play undergoes signals the liveliness and durability of this dramaturgical form and offers an example of how Brecht can remain productive in a contemporary theatre context.
{"title":"“The Point Is, You Don’t Seem to Have Learnt Anything”: Reimagining J.B. Priestley’s An Inspector Calls as a Brechtian Lehrstück for the Middle Classes","authors":"David Barnett","doi":"10.3138/md-65-3-1217","DOIUrl":"https://doi.org/10.3138/md-65-3-1217","url":null,"abstract":"abstract:This article considers the applicability of Bertolt Brecht’s most radical formal innovation, the Lehrstück or learning play, to a play that is neither written in the Brechtian tradition nor ostensibly a Lehrstück itself. J.B. Priestley’s An Inspector Calls (1944) is a popular play often considered “political” by reviewers, yet it proposes no fundamental change to the political landscape its seeks to critique. Brecht’s Lehrstück, which dissolves the boundary between actor and spectator, offers a different mode of performance that actively confronts performers with the implications of their fictional counterparts and invites reflection on how the problems presented might be addressed. The article identifies the political shortcomings of Priestley’s play and introduces Brechtian categories into the analysis and performance of the play before radicalizing these by transforming An Inspector Calls into a Lehrstück. The process the play undergoes signals the liveliness and durability of this dramaturgical form and offers an example of how Brecht can remain productive in a contemporary theatre context.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"65 1","pages":"381 - 405"},"PeriodicalIF":0.3,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41809134","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}
Soyica Diggs Colbert reveals how Lorraine Hansberry’s theatre-making practices were deeply tied to the politics of the Civil Rights era. Colbert pays special attention to how Hansberry interpreted Simone de Beauvoir’s existentialism through the lens of Black liberation and the politics of W.E.B. Du Bois, Paul Robeson, and the Student Nonviolent Coordinating Committee.
{"title":"Soyica Diggs Colbert, Radical Vision: A Biography of Lorraine Hansberry","authors":"P. J. Edwards","doi":"10.3138/md-65-3-br01","DOIUrl":"https://doi.org/10.3138/md-65-3-br01","url":null,"abstract":"Soyica Diggs Colbert reveals how Lorraine Hansberry’s theatre-making practices were deeply tied to the politics of the Civil Rights era. Colbert pays special attention to how Hansberry interpreted Simone de Beauvoir’s existentialism through the lens of Black liberation and the politics of W.E.B. Du Bois, Paul Robeson, and the Student Nonviolent Coordinating Committee.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44063699","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}
The Drama of History: Ibsen, Hegel, Nietzsche explores the exchange between philosophy and drama in the works of Henrik Ibsen. Kristin Gjesdal shows how his plays go beyond Hegelian and Nietzschean notions of historicity to reflect the emergence of modern subjectivity in the nineteenth century.
{"title":"Kristin Gjesdal, The Drama of History: Ibsen, Hegel, Nietzsche","authors":"A. Lagaay","doi":"10.3138/md-65-3-br02","DOIUrl":"https://doi.org/10.3138/md-65-3-br02","url":null,"abstract":"The Drama of History: Ibsen, Hegel, Nietzsche explores the exchange between philosophy and drama in the works of Henrik Ibsen. Kristin Gjesdal shows how his plays go beyond Hegelian and Nietzschean notions of historicity to reflect the emergence of modern subjectivity in the nineteenth century.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48122637","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:Playwright Henrik Ibsen was featured on countless postcards during the postcard craze of the late nineteenth and early twentieth centuries. Encompassing photographic portraits, snapshots, sculptures, monuments, etchings, paintings, and caricatures, the historical interest of these postcards arises not simply from the range of images of the playwright they featured but from the quantity of cards that were published and circulated, how the cards were used and by whom, and what their uses suggest about Ibsen’s popular reputation, reception, significance, impact, and reach. This essay considers the range of Ibsen postcards and also their uses, taking into account the messages inscribed on the cards, the senders and recipients, and the ways the postcards circulated as much as the Ibsen images themselves. In doing so, it considers how the postcards animate the singular figure of the iconic playwright they represent and collectively constitute a lively archive – print and manuscript, visual and textual – that conjures a variety of different Ibsens. In their diversity, myriad uses, and international range, the sampling of Ibsen postcards – and postcard Ibsens – collected here illuminate the popular status, wide reach, and domestication of a key figure in the canon of modern drama and world literature and a beacon of first-wave feminism.
{"title":"Ibsen Postcards / Postcard Ibsens: Domesticating Modernism","authors":"Penny Farfan","doi":"10.3138/md-65-3-1222","DOIUrl":"https://doi.org/10.3138/md-65-3-1222","url":null,"abstract":"abstract:Playwright Henrik Ibsen was featured on countless postcards during the postcard craze of the late nineteenth and early twentieth centuries. Encompassing photographic portraits, snapshots, sculptures, monuments, etchings, paintings, and caricatures, the historical interest of these postcards arises not simply from the range of images of the playwright they featured but from the quantity of cards that were published and circulated, how the cards were used and by whom, and what their uses suggest about Ibsen’s popular reputation, reception, significance, impact, and reach. This essay considers the range of Ibsen postcards and also their uses, taking into account the messages inscribed on the cards, the senders and recipients, and the ways the postcards circulated as much as the Ibsen images themselves. In doing so, it considers how the postcards animate the singular figure of the iconic playwright they represent and collectively constitute a lively archive – print and manuscript, visual and textual – that conjures a variety of different Ibsens. In their diversity, myriad uses, and international range, the sampling of Ibsen postcards – and postcard Ibsens – collected here illuminate the popular status, wide reach, and domestication of a key figure in the canon of modern drama and world literature and a beacon of first-wave feminism.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"65 1","pages":"271 - 354"},"PeriodicalIF":0.3,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45086382","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 provides a useful study of Patrick White’s plays in the context of modernism. Target audiences include theatre historians, theatre studies students, and theatre practitioners.
{"title":"Denise Varney, Patrick White’s Theatre: Australian Modernism on Stage, 1960–2018","authors":"A. Pender","doi":"10.3138/md-65-3-br08","DOIUrl":"https://doi.org/10.3138/md-65-3-br08","url":null,"abstract":"This monograph provides a useful study of Patrick White’s plays in the context of modernism. Target audiences include theatre historians, theatre studies students, and theatre practitioners.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48464684","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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