Pub Date : 2022-10-02DOI: 10.1080/10486801.2022.2118728
Maggie Gale
Abstract John McGrath is Artistic Director and Chief Executive of Manchester International Festival (MIF) and The Factory, Manchester, UK. The festival is biennial and commissions new work by artists from all over the globe, presenting the work over an 18 day period in July. Here, John talks in an interview with Maggie B. Gale about the impact of the pandemic on the planning season for the festival, as well as on the festival itself, which took place in July 2021.
{"title":"MIF Festival 2021 and COVID-19","authors":"Maggie Gale","doi":"10.1080/10486801.2022.2118728","DOIUrl":"https://doi.org/10.1080/10486801.2022.2118728","url":null,"abstract":"Abstract John McGrath is Artistic Director and Chief Executive of Manchester International Festival (MIF) and The Factory, Manchester, UK. The festival is biennial and commissions new work by artists from all over the globe, presenting the work over an 18 day period in July. Here, John talks in an interview with Maggie B. Gale about the impact of the pandemic on the planning season for the festival, as well as on the festival itself, which took place in July 2021.","PeriodicalId":43835,"journal":{"name":"CONTEMPORARY THEATRE REVIEW","volume":"32 1","pages":"253 - 258"},"PeriodicalIF":0.3,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45864287","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 : 2022-10-02DOI: 10.1080/10486801.2022.2118732
A. Tiatco
Abstract On 16 March 2020, then Philippine President Rodrigo Duterte imposed the Enhanced Community Quarantine putting the main island of Luzon – where Manila, the National Capital Region, is located – on a total lockdown to protect the spread of COVID-19. The lockdown restricted mobility, social gatherings were prohibited, and everyone was mandated to stay inside their homes. Moreover, there was a temporary closure of what were considered as non-essential establishments, including religious institutions. Being a predominantly Roman Catholic nation, religious rituals and festivals were heavily affected by the lockdown. Many of its ritualistic and festive performances involve human contact, which serves as the faithful’s direct and intimate relationship to the heavens. This essay interrogates how cultural festivals in the Philippines, mostly organised by the Church, adapted to the global health crisis. It reflects how the adaptations challenged and recontextualised the understanding of the live vis-à-vis the context of the digital or the virtual. Finally, a preliminary speculation on the future of the religious festivals in the Philippines is provided as a concluding reflection.
{"title":"Philippine Catholic Festivals during the COVID-19 Pandemic: Performing Live in the ‘New’ Normal","authors":"A. Tiatco","doi":"10.1080/10486801.2022.2118732","DOIUrl":"https://doi.org/10.1080/10486801.2022.2118732","url":null,"abstract":"Abstract On 16 March 2020, then Philippine President Rodrigo Duterte imposed the Enhanced Community Quarantine putting the main island of Luzon – where Manila, the National Capital Region, is located – on a total lockdown to protect the spread of COVID-19. The lockdown restricted mobility, social gatherings were prohibited, and everyone was mandated to stay inside their homes. Moreover, there was a temporary closure of what were considered as non-essential establishments, including religious institutions. Being a predominantly Roman Catholic nation, religious rituals and festivals were heavily affected by the lockdown. Many of its ritualistic and festive performances involve human contact, which serves as the faithful’s direct and intimate relationship to the heavens. This essay interrogates how cultural festivals in the Philippines, mostly organised by the Church, adapted to the global health crisis. It reflects how the adaptations challenged and recontextualised the understanding of the live vis-à-vis the context of the digital or the virtual. Finally, a preliminary speculation on the future of the religious festivals in the Philippines is provided as a concluding reflection.","PeriodicalId":43835,"journal":{"name":"CONTEMPORARY THEATRE REVIEW","volume":"32 1","pages":"296 - 304"},"PeriodicalIF":0.3,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41740498","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 : 2022-10-02DOI: 10.1080/10486801.2022.2118730
H. Huber
Abstract The management of the coronavirus crisis of 2020 required immediate and top-down decisions, which contradicts the bottom-up philosophy of the non-curated Festival OFF d’Avignon. As a consequence, the loose organizational structure risked breaking apart and every theatre director acted autonomously by either cancelling the scheduled programme, creating online alternatives, or organising independent micro-festivals. The events of 2020 demonstrate that the non-curated festival is composed of multiple independent theatres following their own artistic orientation and business model. The OFF d’Avignon is, in fact, a festival of festivals.
{"title":"Micro-Festivals on the Fringe: The OFF d’Avignon in 2020","authors":"H. Huber","doi":"10.1080/10486801.2022.2118730","DOIUrl":"https://doi.org/10.1080/10486801.2022.2118730","url":null,"abstract":"Abstract The management of the coronavirus crisis of 2020 required immediate and top-down decisions, which contradicts the bottom-up philosophy of the non-curated Festival OFF d’Avignon. As a consequence, the loose organizational structure risked breaking apart and every theatre director acted autonomously by either cancelling the scheduled programme, creating online alternatives, or organising independent micro-festivals. The events of 2020 demonstrate that the non-curated festival is composed of multiple independent theatres following their own artistic orientation and business model. The OFF d’Avignon is, in fact, a festival of festivals.","PeriodicalId":43835,"journal":{"name":"CONTEMPORARY THEATRE REVIEW","volume":"32 1","pages":"247 - 252"},"PeriodicalIF":0.3,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41778013","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 : 2022-10-02DOI: 10.1080/10486801.2022.2117806
B. Lease, J. Pather
Abstract In this interview with Bryce Lease, Jay Pather discusses the multiple festivals he curates in South Africa, the Netherlands, and France. These include Infecting the City Public Art Festival, the ICA Live Art Festival, Afrovibes, and Season Africa 2020. Focusing on African contexts for performance and congregation, Pather discusses the challenges and opportunities for collaboration and audience engagement during the Covid pandemic, as well as the uneven forms of ecological activism between the global North and South.
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Pub Date : 2022-10-02DOI: 10.1080/10486801.2022.2117803
Kris Nelson
Abstract The London International Festival of Theatre (LIFT) is a biennial festival of theatre, performance, and cultural events. The organisation also supports year-round activity in London. LIFT was founded by Rose Fenton and Lucy Neal, with the first festival in 1981 hoping to ‘challenge British theatre and open a window on the world’. It has been a significant force in internationalising the UK theatre scene over the past 40 years.
{"title":"LIFT’s Shifts: Concept Touring & Times of Precarity","authors":"Kris Nelson","doi":"10.1080/10486801.2022.2117803","DOIUrl":"https://doi.org/10.1080/10486801.2022.2117803","url":null,"abstract":"Abstract The London International Festival of Theatre (LIFT) is a biennial festival of theatre, performance, and cultural events. The organisation also supports year-round activity in London. LIFT was founded by Rose Fenton and Lucy Neal, with the first festival in 1981 hoping to ‘challenge British theatre and open a window on the world’. It has been a significant force in internationalising the UK theatre scene over the past 40 years.","PeriodicalId":43835,"journal":{"name":"CONTEMPORARY THEATRE REVIEW","volume":"32 1","pages":"310 - 318"},"PeriodicalIF":0.3,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44608020","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 : 2022-10-02DOI: 10.1080/10486801.2022.2118733
Shona McCullagh, Sarah Thomasson
Abstract Shona McCullagh, Artistic Director of Auckland Arts Festival, Te Ahurei Toi o Tāmaki, speaks to Sarah Thomasson about her experience of festival programming during the pandemic and the challenges and opportunities artists and festivals in Aotearoa will face in the future.
摘要奥克兰艺术节艺术总监Te Ahurei Toi o Tāmaki Shona McCullagh向Sarah Thomasson讲述了她在疫情期间的艺术节编程经验，以及艺术家和艺术节在未来将面临的挑战和机遇。
{"title":"The Power of Disruption: The Future Is Creatively Vibrant at Te Ahurei Toi o Tāmaki (Auckland Arts Festival)","authors":"Shona McCullagh, Sarah Thomasson","doi":"10.1080/10486801.2022.2118733","DOIUrl":"https://doi.org/10.1080/10486801.2022.2118733","url":null,"abstract":"Abstract Shona McCullagh, Artistic Director of Auckland Arts Festival, Te Ahurei Toi o Tāmaki, speaks to Sarah Thomasson about her experience of festival programming during the pandemic and the challenges and opportunities artists and festivals in Aotearoa will face in the future.","PeriodicalId":43835,"journal":{"name":"CONTEMPORARY THEATRE REVIEW","volume":"32 1","pages":"319 - 322"},"PeriodicalIF":0.3,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45013375","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 : 2022-04-03DOI: 10.1080/10486801.2022.2068870
David Calder, Broderick Chow, Maria M. Delgado, Maggie B. Gale, Bryce Lease, Caridad Svich, Sarah Thomasson
There is a dialogue between different conditions of our time(s) in this issue of Contemporary Theatre Review. While some of the articles examine productions presented in a pre-COVID world, issues of catastrophe, challenge, and change run through a consideration of how these stagings work and why they matter. COVID may have exposed fault lines and gaps in twenty-first century culture(s), but the articles here show how particular concerns have been manifest across a range of theatrical media. Intersections can be identified across a range of themes – catastrophe, COVID, Catholicism, Cyborgs, and Copresence. All have implications on how reality/ies are articulated and explained and how the relationship between self and other is forged. Joanna Mansbridge’s focus on a dramaturgy of extinction in her examination of Kris Verdonck’s Conversations (at the end of the world) and SOMETHING (out of nothing) articulates how these productions present a view of extinction through human figures sidelined and displaced by animated landscapes. The result is a contemplation of how extinction may not here signify termination but rather the end of a particular and limited singular idea of the human subject. Ultimately, the article moves beyond the dominant frame of a single narrative to look at more complex ways of envisaging what might be seen as ‘progress’ or evolution. Contemporary climate crisis theatre in the UK is the focus of Alexander Watson’s article. With clear resonances to how Mansbridge engages with the Anthropocene, there is a focus on how the pieces Watson covers have engaged with and sought to expose the tensions and anxieties in the wider public sphere about climate change. The focus on Ella Hickson’s Oil (2016) is positioned within a wider body of productions that demonstrate broader connections to the issues that Mansbridge highlighted in her discussion of Verdonck’s Conversations (at the end of the world) and SOMETHING (out of nothing). The focus in both pieces on performative affect and material expense points to wider currents in contemporary scholarship engaging with climate change, environmental politics, and an understanding of the relationship between time, space, action, and human agency. Providing a consideration of the stage production of Our Ladies of Perpetual Succour (2015), Lee Hall’s adaptation of Alan Warner’s novel Contemporary Theatre Review, 2022 Vol. 32, No. 2, 121–123, https://doi.org/10.1080/10486801.2022.2068870
{"title":"Editorial 32.2","authors":"David Calder, Broderick Chow, Maria M. Delgado, Maggie B. Gale, Bryce Lease, Caridad Svich, Sarah Thomasson","doi":"10.1080/10486801.2022.2068870","DOIUrl":"https://doi.org/10.1080/10486801.2022.2068870","url":null,"abstract":"There is a dialogue between different conditions of our time(s) in this issue of Contemporary Theatre Review. While some of the articles examine productions presented in a pre-COVID world, issues of catastrophe, challenge, and change run through a consideration of how these stagings work and why they matter. COVID may have exposed fault lines and gaps in twenty-first century culture(s), but the articles here show how particular concerns have been manifest across a range of theatrical media. Intersections can be identified across a range of themes – catastrophe, COVID, Catholicism, Cyborgs, and Copresence. All have implications on how reality/ies are articulated and explained and how the relationship between self and other is forged. Joanna Mansbridge’s focus on a dramaturgy of extinction in her examination of Kris Verdonck’s Conversations (at the end of the world) and SOMETHING (out of nothing) articulates how these productions present a view of extinction through human figures sidelined and displaced by animated landscapes. The result is a contemplation of how extinction may not here signify termination but rather the end of a particular and limited singular idea of the human subject. Ultimately, the article moves beyond the dominant frame of a single narrative to look at more complex ways of envisaging what might be seen as ‘progress’ or evolution. Contemporary climate crisis theatre in the UK is the focus of Alexander Watson’s article. With clear resonances to how Mansbridge engages with the Anthropocene, there is a focus on how the pieces Watson covers have engaged with and sought to expose the tensions and anxieties in the wider public sphere about climate change. The focus on Ella Hickson’s Oil (2016) is positioned within a wider body of productions that demonstrate broader connections to the issues that Mansbridge highlighted in her discussion of Verdonck’s Conversations (at the end of the world) and SOMETHING (out of nothing). The focus in both pieces on performative affect and material expense points to wider currents in contemporary scholarship engaging with climate change, environmental politics, and an understanding of the relationship between time, space, action, and human agency. Providing a consideration of the stage production of Our Ladies of Perpetual Succour (2015), Lee Hall’s adaptation of Alan Warner’s novel Contemporary Theatre Review, 2022 Vol. 32, No. 2, 121–123, https://doi.org/10.1080/10486801.2022.2068870","PeriodicalId":43835,"journal":{"name":"CONTEMPORARY THEATRE REVIEW","volume":"32 1","pages":"121 - 123"},"PeriodicalIF":0.3,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42236516","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 : 2022-04-03DOI: 10.1080/10486801.2022.2047033
K. Jacobson
Abstract Taking Jordan Tannahill’s play rihannaboi95 as case study, this article examines the ways in which digital theatre forms cultivate a unique spectator experience of perceived realness. Specifically, this article examines how the conventions of the YouTube video carry over and impact the audience experience of rihannaboi95, a theatrical monologue told in the style of a YouTube confessional. rihannaboi95 concerns a young person named Sunny (username rihannaboi95), who uploads videos of himself lipsyncing and dancing to Rihanna songs online. When his videos go viral in his high school community, he is subject to intense bullying from his peers and homophobia from his own family. From the form’s portability – able to be viewed on a personal laptop or phone in one’s private home – to the use of a live chat room in which audience members may talk to each other and the performer throughout the show, this article argues that the frameworks for viewing this piece encourage a unique form of empathetic participation from its audience. Using ideas of intimacy, affect, and realness, as well as audience responses, this piece investigates how the show’s virtual co-presence works to pervade the real-world, and thus uniquely crafts an experience that both feels real to its audiences and in turn encourages real contributions from those audiences.
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Pub Date : 2022-04-03DOI: 10.1080/10486801.2022.2047031
Jihay Park
Abstract It is only recently that VR has become one of the most sought out technologies to create a narrative experience. However, as David Z. Saltz points out, ‘scholars and practitioners have yet to settle on a name to describe performances that incorporate digital media’. In this article, I extend Jennifer Parker-Starbuck’s concept of ‘cyborg theatre’ to the three technological retellings of Shakespeare – To Be With Hamlet, Hamlet 360, and The Under Presents: Tempest – and demonstrate immersive VR theatre as a site where the possibilities of shifting subjectivity materialize. The first section explores the nature of VR in theatre through its central function. Focusing on my experiences of the productions, I explore the cyborgean intersections in VR theatre via the sense of immersion, and highlight how the immersive power of VR incites reflections on the impact of new technologies on the body and the subject of the audience. Based on an examination of immersion, the second section focuses on the audience’s embodied subjectivity and argues immersive VR theatre as a site where alternative corporeal and technological configurations could be tested out. I am especially interested in how sensory immersion in VR, unlike existing claims on it, relates to the materiality as well as the imitative representation of a fictional world.
直到最近，VR才成为最受欢迎的创造叙事体验的技术之一。然而，正如David Z. Saltz所指出的，“学者和实践者还没有确定一个名称来描述包含数字媒体的表演”。在这篇文章中，我将Jennifer Parker-Starbuck的“电子剧院”概念扩展到莎士比亚的三部技术重播作品——《与哈姆雷特在一起》、《哈姆雷特360》和《底层呈现:暴风雨》——并展示了沉浸式虚拟现实剧院作为转移主体性的可能性实现的场所。第一部分通过VR的核心功能来探讨其在戏剧中的本质。我以自己的作品体验为中心，通过沉浸感来探索VR戏剧中的半机械人交叉点，并强调VR的沉浸感如何激发人们对新技术对身体和观众主体的影响的思考。基于对沉浸感的考察，第二部分侧重于观众体现的主体性，并认为沉浸式VR剧院是一个可以测试替代物质和技术配置的场所。我对VR中的感官沉浸感特别感兴趣，不像现有的说法，它与物质性以及虚构世界的模仿表现有关。
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Pub Date : 2022-04-03DOI: 10.1080/10486801.2022.2063544
Xing Fan
{"title":"Transforming Tradition: The Reform of Chinese Theater in the 1950s and Early 1960s","authors":"Xing Fan","doi":"10.1080/10486801.2022.2063544","DOIUrl":"https://doi.org/10.1080/10486801.2022.2063544","url":null,"abstract":"","PeriodicalId":43835,"journal":{"name":"CONTEMPORARY THEATRE REVIEW","volume":"32 1","pages":"206 - 207"},"PeriodicalIF":0.3,"publicationDate":"2022-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44501524","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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