This volume explores the intersections between theatre and science through a collection of essays that examine how the disciplines have used and reflected on each other to stage knowledge and produce new insights across a range of historical periods and geographical locations.
{"title":"Kirsten E. Shepherd-Barr, ed., The Cambridge Companion to Theatre and Science","authors":"G. Bouchard","doi":"10.3138/md-65-3-br07","DOIUrl":"https://doi.org/10.3138/md-65-3-br07","url":null,"abstract":"This volume explores the intersections between theatre and science through a collection of essays that examine how the disciplines have used and reflected on each other to stage knowledge and produce new insights across a range of historical periods and geographical locations.","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":"47468403","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 Suzan-Lori Parks’s dramatic work should be considered in terms of its presentation of apocalyptic scenes that are unique in their rejection of endings. I examine Parks’s The America Play and Death of the Last Black Man in the Entire World as examples of apocalypse-in-process, representations of apocalypse that refuse a teleological context and instead focus on the unending nature of historical and global catastrophe. I build upon scholarship on Parks’s treatment of African American history and memory, particularly that which centres her preoccupation with the material and psychical remnants of slavery and oppression, to examine how apocalyptic themes undergird her writing. Parks’s reorientation of apocalyptic writing away from easily resolvable endings speaks directly to our present moment, in which anti-Black violence borne out of chattel slavery continues to reverberate in the face of the insidious violence of microaggressions and police brutality. In presenting sites of ostensible death as unlikely spaces for insurgent life, Parks’s plays rethink what narratives of death and trauma can look like.
{"title":"“This Could Go On Forever”: Rethinking the End in Suzan-Lori Parks’s Apocalyptic Dramas","authors":"Holly Berkowitz","doi":"10.3138/md.65-3-1181","DOIUrl":"https://doi.org/10.3138/md.65-3-1181","url":null,"abstract":"abstract:This article argues that Suzan-Lori Parks’s dramatic work should be considered in terms of its presentation of apocalyptic scenes that are unique in their rejection of endings. I examine Parks’s The America Play and Death of the Last Black Man in the Entire World as examples of apocalypse-in-process, representations of apocalypse that refuse a teleological context and instead focus on the unending nature of historical and global catastrophe. I build upon scholarship on Parks’s treatment of African American history and memory, particularly that which centres her preoccupation with the material and psychical remnants of slavery and oppression, to examine how apocalyptic themes undergird her writing. Parks’s reorientation of apocalyptic writing away from easily resolvable endings speaks directly to our present moment, in which anti-Black violence borne out of chattel slavery continues to reverberate in the face of the insidious violence of microaggressions and police brutality. In presenting sites of ostensible death as unlikely spaces for insurgent life, Parks’s plays rethink what narratives of death and trauma can look like.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"65 1","pages":"406 - 428"},"PeriodicalIF":0.3,"publicationDate":"2022-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49561721","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 critical volume theorizes the genre of Middle Eastern American theatre and is the first to survey an extensive collection of companies, playwrights, and plays. It will prove to be a valuable educational and research tool as well as serving as a reference for a wide theatre audience.
{"title":"Michael Malek Najjar, Middle Eastern American Theatre: Communities, Cultures, and Artists","authors":"H. Baki","doi":"10.3138/md-65-3-br05","DOIUrl":"https://doi.org/10.3138/md-65-3-br05","url":null,"abstract":"This critical volume theorizes the genre of Middle Eastern American theatre and is the first to survey an extensive collection of companies, playwrights, and plays. It will prove to be a valuable educational and research tool as well as serving as a reference for a wide theatre audience.","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":"44595201","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}
Pub Date : 2022-07-01DOI: 10.2500/jfa.2022.4.220019
Sultan Albuhairi, Rima Rachid
Oral immunotherapy (OIT), thus far, is the most evaluated therapeutic approach for food allergy. However, OIT is not known to lead to a cure, and it carries a risk for allergic reactions. Adjunct therapies to OIT are currently being investigated to evaluate their effect on safety and outcome. Of these therapies, omalizumab is the most evaluated biologic. There is mounting evidence that omalizumab is effective in inducing rapid desensitization of OIT in both single-food and multiallergen OIT, while diminishing the rate of adverse reactions. Evaluation of other adjunct biologics, such as dupilumab and bacterial therapy, is underway.
{"title":"The use of adjunctive therapies during oral immunotherapy: A focus on biologics.","authors":"Sultan Albuhairi, Rima Rachid","doi":"10.2500/jfa.2022.4.220019","DOIUrl":"10.2500/jfa.2022.4.220019","url":null,"abstract":"<p><p>Oral immunotherapy (OIT), thus far, is the most evaluated therapeutic approach for food allergy. However, OIT is not known to lead to a cure, and it carries a risk for allergic reactions. Adjunct therapies to OIT are currently being investigated to evaluate their effect on safety and outcome. Of these therapies, omalizumab is the most evaluated biologic. There is mounting evidence that omalizumab is effective in inducing rapid desensitization of OIT in both single-food and multiallergen OIT, while diminishing the rate of adverse reactions. Evaluation of other adjunct biologics, such as dupilumab and bacterial therapy, is underway.</p>","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"38 1","pages":"65-70"},"PeriodicalIF":0.0,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC11250515/pdf/","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88437427","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
abstract:The love tale of Hanjo, presented by SITI Company in New York in 2017, traces its history back through the plays and dramatic treatises of Yukio Mishima and Zeami Motokiyo to a young maid (and eventual poet), Ban Jieyu, in ancient China. Informed by Andrew Sofer’s theory of the prop, this article uses the story’s central metaphor of a fan – which, like the protagonist, is cherished in summer but loses its value in autumn – to trace the tale’s adaptations, illuminating how with each reworking the central prop gains ever more complex meanings. As the tale undergoes numerous treatments, the original heteronormative context of Ban Jieyu’s romantic relationship becomes increasingly less straightforward as Mishima introduces taboo eroticism and SITI Company plays with gender roles, suggesting a woman with multiple non-normative possibilities for love. By analysing the evolution of Hanjo’s fan, this essay extends Sofer’s theory to consider the possibilities of a prop whose signification is not limited to a specific historical period but takes on new meanings when staged within a postdramatic production.
{"title":"A Fan through the Ages: Layers of Adaptation in SITI Company’s Hanjo","authors":"Sebastian X Samur","doi":"10.3138/md-65-1-1077","DOIUrl":"https://doi.org/10.3138/md-65-1-1077","url":null,"abstract":"abstract:The love tale of Hanjo, presented by SITI Company in New York in 2017, traces its history back through the plays and dramatic treatises of Yukio Mishima and Zeami Motokiyo to a young maid (and eventual poet), Ban Jieyu, in ancient China. Informed by Andrew Sofer’s theory of the prop, this article uses the story’s central metaphor of a fan – which, like the protagonist, is cherished in summer but loses its value in autumn – to trace the tale’s adaptations, illuminating how with each reworking the central prop gains ever more complex meanings. As the tale undergoes numerous treatments, the original heteronormative context of Ban Jieyu’s romantic relationship becomes increasingly less straightforward as Mishima introduces taboo eroticism and SITI Company plays with gender roles, suggesting a woman with multiple non-normative possibilities for love. By analysing the evolution of Hanjo’s fan, this essay extends Sofer’s theory to consider the possibilities of a prop whose signification is not limited to a specific historical period but takes on new meanings when staged within a postdramatic production.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"65 1","pages":"119 - 97"},"PeriodicalIF":0.3,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42888721","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:W.B. Yeats’s presence at the December 1896 Paris performance of Alfred Jarry’s Ubu Roi has become well known for the famous phrase that it inspired: “After us the Savage God.” Yet the significance of Jarry’s play to Yeats’s drama has been almost entirely overlooked. Expanding on my previous work in Yeats and European Drama, this article illustrates the profundity and the significance of Jarry’s revolutionary avant-garde play for two of Yeats’s plays: The Green Helmet (1910) and The Player Queen (1922). Following a discussion of the connections between Ubu Roi, The Green Helmet, and the disturbances at the Abbey Theatre during the performance of J.M. Synge’s The Playboy of the Western World in 1907, I address the deep affinities that Jarry’s play also has with another later play by Yeats: The Player Queen. Although it was first performed long after the Symbolist movement in literature and drama had passed, The Player Queen carries strongly Symbolist features. Like Ubu Roi, however, Yeats’s play disturbs the religious ideals of Symbolism through a tension that it sustains between mysticism and animality, a tension that I explore through the medieval aspects of both plays. Taken together, The Green Helmet and The Player Queen demonstrate the continuing influence that the European avant-garde in general, and Jarry’s work in particular, had on Yeats’s dramaturgy throughout his career.
{"title":"Ubu Roi in W.B. Yeats’s The Green Helmet and The Player Queen","authors":"M. Mcateer","doi":"10.3138/md-65-1-1137","DOIUrl":"https://doi.org/10.3138/md-65-1-1137","url":null,"abstract":"abstract:W.B. Yeats’s presence at the December 1896 Paris performance of Alfred Jarry’s Ubu Roi has become well known for the famous phrase that it inspired: “After us the Savage God.” Yet the significance of Jarry’s play to Yeats’s drama has been almost entirely overlooked. Expanding on my previous work in Yeats and European Drama, this article illustrates the profundity and the significance of Jarry’s revolutionary avant-garde play for two of Yeats’s plays: The Green Helmet (1910) and The Player Queen (1922). Following a discussion of the connections between Ubu Roi, The Green Helmet, and the disturbances at the Abbey Theatre during the performance of J.M. Synge’s The Playboy of the Western World in 1907, I address the deep affinities that Jarry’s play also has with another later play by Yeats: The Player Queen. Although it was first performed long after the Symbolist movement in literature and drama had passed, The Player Queen carries strongly Symbolist features. Like Ubu Roi, however, Yeats’s play disturbs the religious ideals of Symbolism through a tension that it sustains between mysticism and animality, a tension that I explore through the medieval aspects of both plays. Taken together, The Green Helmet and The Player Queen demonstrate the continuing influence that the European avant-garde in general, and Jarry’s work in particular, had on Yeats’s dramaturgy throughout his career.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"65 1","pages":"52 - 72"},"PeriodicalIF":0.3,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48056212","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}
La Donna Forsgren’s Sistuhs in the Struggle: An Oral History of Black Arts Movement Theater and Performance is a critical intervention in theatre studies, women’s studies, and Black studies, employing a narrative methodology to recover and centre the voices of Black women who built the Black Arts Movement.
{"title":"La Donna L. Forsgren, Sistuhs in the Struggle: An Oral History of Black Arts Movement Theater and Performance","authors":"K. Y. Long","doi":"10.3138/md-65-1-br2","DOIUrl":"https://doi.org/10.3138/md-65-1-br2","url":null,"abstract":"La Donna Forsgren’s Sistuhs in the Struggle: An Oral History of Black Arts Movement Theater and Performance is a critical intervention in theatre studies, women’s studies, and Black studies, employing a narrative methodology to recover and centre the voices of Black women who built the Black Arts Movement.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44108051","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 Indigenous Women’s Theatre in Canada: A Mechanism of Decolonization, Sarah MacKenzie centres the early work of Indigenous female playwrights Monique Mojica, Marie Clements, and Yvette Nolan. She convincingly argues that they stage acts of dramatic subversion that challenge violent colonial misrepresentations of Indigenous women and envision a decolonized future.
{"title":"Sarah Mackenzie. Indigenous Women’s Theatre in Canada: A Mechanism of Decolonization","authors":"J. Burelle","doi":"10.3138/md-65-1-br4","DOIUrl":"https://doi.org/10.3138/md-65-1-br4","url":null,"abstract":"In Indigenous Women’s Theatre in Canada: A Mechanism of Decolonization, Sarah MacKenzie centres the early work of Indigenous female playwrights Monique Mojica, Marie Clements, and Yvette Nolan. She convincingly argues that they stage acts of dramatic subversion that challenge violent colonial misrepresentations of Indigenous women and envision a decolonized future.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44538935","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}
With Performance and the Afterlives of Injustice, Catherine Cole investigates how a group of contemporary South African artists have used performance to explore the ongoing ramifications or “afterlives” of apartheid. This engaging work spans five decades of South African performance history (1970–2020), posing critical questions about performance as a pedagogical tool and a practice of political engagement.
凯瑟琳·科尔（Catherine Cole）在《表演与不公正的后遗症》（Performance and the Afterlifes of Injustice）一书中调查了一群当代南非艺术家如何利用表演来探索种族隔离的持续影响或“后遗症”。这项引人入胜的工作跨越了南非50年的绩效历史（1970年至2020年），提出了关于绩效作为一种教学工具和政治参与实践的关键问题。
{"title":"Catherine Cole. Performance and the Afterlives of Injustice","authors":"Lisa L. Biggs","doi":"10.3138/md-65-1-br1","DOIUrl":"https://doi.org/10.3138/md-65-1-br1","url":null,"abstract":"With Performance and the Afterlives of Injustice, Catherine Cole investigates how a group of contemporary South African artists have used performance to explore the ongoing ramifications or “afterlives” of apartheid. This engaging work spans five decades of South African performance history (1970–2020), posing critical questions about performance as a pedagogical tool and a practice of political engagement.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42578937","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}
Rogers’s This Song Is You places the sensuous body at the centre of both historical and critical inquiry about Broadway. He argues that “formal integration,” comprising a discourse of unity, was a defensive reaction against erotic spectacle. In doing so, this book often offers fresh ideas for further historical research.
{"title":"Bradley Rogers. This Song Is You: Musical Theatre and the Politics of Bursting into Song and Dance","authors":"J. O'leary","doi":"10.3138/md-65-1-br6","DOIUrl":"https://doi.org/10.3138/md-65-1-br6","url":null,"abstract":"Rogers’s This Song Is You places the sensuous body at the centre of both historical and critical inquiry about Broadway. He argues that “formal integration,” comprising a discourse of unity, was a defensive reaction against erotic spectacle. In doing so, this book often offers fresh ideas for further historical research.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43868426","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：