Pub Date : 2022-07-19DOI: 10.1017/S0266464X22000173
Carol Fisher Sorgenfrei
The story of Medea’s murder of her own children to gain revenge against their faithless father has been tackled from many angles by playwrights and directors from Euripides’ time to the present. In recent years, due to highly sensationalized, real-life cases of mothers murdering their children, it has become fodder for sociologists, criminologists, psychologists, and feminists. Many recent productions (both original plays and directorial approaches to Euripides’ original) have avoided tackling the difficult questions raised by Euripides’ ending, which demands an answer to the following question: how could the gods send down a dragon-drawn chariot to rescue a woman who murdered her own children? Many contemporary authors and directors prefer to eliminate Euripides’ ending in order to focus on more immediate issues, such as the psychological or social damage resulting from patriarchy, colonialism, and misogyny. After considering several such productions, this article analyzes three plays that directly tackle Euripides’ troubling ending: two original scripts, by Heiner Müller and Carol Fisher Sorgenfrei respectively; and a production of Euripides’ original by Japanese director Miyagi Satoshi. Carol Fisher Sorgenfrei is Professor Emerita of Theatre at UCLA. An expert on postwar Japanese and cross-cultural performance, she is also a translator, director, and playwright. The author of Unspeakable Acts: The Avant-Garde Theatre of Terayama Shūji and Postwar Japan (University of Hawaii Press, 2005) and co-author of Theatre Histories: An Introduction (third edition, Routledge, 2016), she has published over a hundred articles, chapters, and reviews. She is an Associate Editor of Asian Theatre Journal and a Fellow of the College of Fellows of the American Theatre.
{"title":"The Sense of an Ending: Contemporary Visions of Medea","authors":"Carol Fisher Sorgenfrei","doi":"10.1017/S0266464X22000173","DOIUrl":"https://doi.org/10.1017/S0266464X22000173","url":null,"abstract":"The story of Medea’s murder of her own children to gain revenge against their faithless father has been tackled from many angles by playwrights and directors from Euripides’ time to the present. In recent years, due to highly sensationalized, real-life cases of mothers murdering their children, it has become fodder for sociologists, criminologists, psychologists, and feminists. Many recent productions (both original plays and directorial approaches to Euripides’ original) have avoided tackling the difficult questions raised by Euripides’ ending, which demands an answer to the following question: how could the gods send down a dragon-drawn chariot to rescue a woman who murdered her own children? Many contemporary authors and directors prefer to eliminate Euripides’ ending in order to focus on more immediate issues, such as the psychological or social damage resulting from patriarchy, colonialism, and misogyny. After considering several such productions, this article analyzes three plays that directly tackle Euripides’ troubling ending: two original scripts, by Heiner Müller and Carol Fisher Sorgenfrei respectively; and a production of Euripides’ original by Japanese director Miyagi Satoshi. Carol Fisher Sorgenfrei is Professor Emerita of Theatre at UCLA. An expert on postwar Japanese and cross-cultural performance, she is also a translator, director, and playwright. The author of Unspeakable Acts: The Avant-Garde Theatre of Terayama Shūji and Postwar Japan (University of Hawaii Press, 2005) and co-author of Theatre Histories: An Introduction (third edition, Routledge, 2016), she has published over a hundred articles, chapters, and reviews. She is an Associate Editor of Asian Theatre Journal and a Fellow of the College of Fellows of the American Theatre.","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"38 1","pages":"242 - 257"},"PeriodicalIF":0.1,"publicationDate":"2022-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42371358","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-19DOI: 10.1017/S0266464X22000148
Matteo Paoletti
This article explores the role of theatre in the strategies of cultural diplomacy that developed in Italy between the last years of the liberal state (1919–22) and the rise of Benito Mussolini. It covers the period until 1927, when the establishment of the Istituti Italiani di Cultura (Italian Cultural Institutes) and the approval of a new regulatory framework for migration marked a new era for fascist soft-power ambitions. The article draws upon unpublished sources of the Historical Diplomatic Archive of the Italian Ministry of Foreign Affairs and offers a new perspective on the use of theatre and the performing arts as a tool for cultural diplomacy through the testimony of such flagship authors as Luigi Pirandello, Filippo Tommaso Marinetti, Alfredo Casella, and Pietro Mascagni. Matteo Paoletti is a Senior Assistant Professor in Theatre Studies at the University of Bologna and part of the research project ‘Historia y patrimonio de la Argentina moderna’ with the Universidad Nacional de San Martín, Buenos Aires. He was a Cultural Attaché at the Italian Ministry of Foreign Affairs, and oversaw the 2003 Convention on Intangible Cultural Heritage for the Italian National Commission for UNESCO. His recent publications include ‘A Huge Revolution of Theatrical Commerce’: Walter Mocchi and the Italian Musical Theatre Business in South America (Cambridge University Press, 2020)
{"title":"‘A Single Purpose: The Conquest of the Foreign Art Markets’: Theatre and Cultural Diplomacy in Mussolini’s Italy (1919–1927)","authors":"Matteo Paoletti","doi":"10.1017/S0266464X22000148","DOIUrl":"https://doi.org/10.1017/S0266464X22000148","url":null,"abstract":"This article explores the role of theatre in the strategies of cultural diplomacy that developed in Italy between the last years of the liberal state (1919–22) and the rise of Benito Mussolini. It covers the period until 1927, when the establishment of the Istituti Italiani di Cultura (Italian Cultural Institutes) and the approval of a new regulatory framework for migration marked a new era for fascist soft-power ambitions. The article draws upon unpublished sources of the Historical Diplomatic Archive of the Italian Ministry of Foreign Affairs and offers a new perspective on the use of theatre and the performing arts as a tool for cultural diplomacy through the testimony of such flagship authors as Luigi Pirandello, Filippo Tommaso Marinetti, Alfredo Casella, and Pietro Mascagni. Matteo Paoletti is a Senior Assistant Professor in Theatre Studies at the University of Bologna and part of the research project ‘Historia y patrimonio de la Argentina moderna’ with the Universidad Nacional de San Martín, Buenos Aires. He was a Cultural Attaché at the Italian Ministry of Foreign Affairs, and oversaw the 2003 Convention on Intangible Cultural Heritage for the Italian National Commission for UNESCO. His recent publications include ‘A Huge Revolution of Theatrical Commerce’: Walter Mocchi and the Italian Musical Theatre Business in South America (Cambridge University Press, 2020)","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"38 1","pages":"201 - 221"},"PeriodicalIF":0.1,"publicationDate":"2022-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44524858","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-19DOI: 10.1017/S0266464X22000161
Jan Speckenbach, Thomas Irmer
German film artist Jan Speckenbach ingeniously contributed to the development of live video on the stage, and this discussion focuses on his education, as well his as experimental collaborations with director Frank Castorf at the Volksbühne Berlin, starting in 2000. Speckenbach’s background in film and media studies facilitated his explorations of uncharted territory in the theatre, going from a set of fixed cameras on the stage to the use of a camera crew with live-editing for augmented images as part of the whole directing concept and process. His first-hand insights into how actors have interacted with this new technology and how filmmaking can be an integral part of the theatre indicate clearly that filmmaking has played an invaluable role in recent theatre history. Speckenbach here also speaks of his collaborations with other directors, notably Sebastian Hartmann and René Pollesch, and about the future perspectives of this technology, which has changed the theatre altogether. Jan Speckenbach studied art history, philosophy, and media in Karlsruhe, Munich, and Paris during the 1990s. At the beginning of the new millennium he participated in the development of video theatre with Frank Castorf and, now a successful filmmaker, he also continues to work in the theatre. His short film Gestern in Eden [Yesterday in Eden] premiered at Cannes in 2008, while the full-length feature film Die Vermissten [The Missing] was shown at the 2012 Berlinale and Freiheit [Freedom] at the 2017 film competition at Locarno. In 2020 he directed the live-stream of Der Zauberberg [The Magic Mountain, after Thomas Mann’s novel] at the Deutsches Theater in Berlin (premiered online in November 2019), which was subsequently invited to the Berlin Theatertreffen. Thomas Irmer is the editor-in-chief of the Berlin-based monthly Theater der Zeit. He has co-edited two books on the work of Frank Castorf – Zehn Jahre Volksbühne Intendanz Frank Castorf (2003) and Castorf (2016). During the last forty years he has authored, among other significant writings, numerous analytical articles and interviews on Castorf’s creative output.
{"title":"In Interview: On the Development of Video in the Theatre","authors":"Jan Speckenbach, Thomas Irmer","doi":"10.1017/S0266464X22000161","DOIUrl":"https://doi.org/10.1017/S0266464X22000161","url":null,"abstract":"German film artist Jan Speckenbach ingeniously contributed to the development of live video on the stage, and this discussion focuses on his education, as well his as experimental collaborations with director Frank Castorf at the Volksbühne Berlin, starting in 2000. Speckenbach’s background in film and media studies facilitated his explorations of uncharted territory in the theatre, going from a set of fixed cameras on the stage to the use of a camera crew with live-editing for augmented images as part of the whole directing concept and process. His first-hand insights into how actors have interacted with this new technology and how filmmaking can be an integral part of the theatre indicate clearly that filmmaking has played an invaluable role in recent theatre history. Speckenbach here also speaks of his collaborations with other directors, notably Sebastian Hartmann and René Pollesch, and about the future perspectives of this technology, which has changed the theatre altogether. Jan Speckenbach studied art history, philosophy, and media in Karlsruhe, Munich, and Paris during the 1990s. At the beginning of the new millennium he participated in the development of video theatre with Frank Castorf and, now a successful filmmaker, he also continues to work in the theatre. His short film Gestern in Eden [Yesterday in Eden] premiered at Cannes in 2008, while the full-length feature film Die Vermissten [The Missing] was shown at the 2012 Berlinale and Freiheit [Freedom] at the 2017 film competition at Locarno. In 2020 he directed the live-stream of Der Zauberberg [The Magic Mountain, after Thomas Mann’s novel] at the Deutsches Theater in Berlin (premiered online in November 2019), which was subsequently invited to the Berlin Theatertreffen. Thomas Irmer is the editor-in-chief of the Berlin-based monthly Theater der Zeit. He has co-edited two books on the work of Frank Castorf – Zehn Jahre Volksbühne Intendanz Frank Castorf (2003) and Castorf (2016). During the last forty years he has authored, among other significant writings, numerous analytical articles and interviews on Castorf’s creative output.","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"38 1","pages":"234 - 241"},"PeriodicalIF":0.1,"publicationDate":"2022-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47367415","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-19DOI: 10.1017/S0266464X22000185
P. Burt
Although lasting only two and a half years, Edward Gordon Craig’s engagement with the Purcell Operatic Society was his most consistent and productive period of work on the stage. This article re-examines this time during Craig’s life in order to ascertain why he saw it to be the zenith of his career. In particular, it analyzes his work with the amateur group to argue that it was foundational in the development of his approach to theatre-making and, further, helped him to introduce the entity of theatre director to Britain and what the role of such a person could be. By examining this material in relation to wider contextual factors, the article also shows how the group offered audiences an alternative to the dominant ‘star’ system of the early 1900s. The article thus indicates why Craig scholarship needs to place the Purcell Operatic Society at the centre of any of its discussions. Philippa Burt is a lecturer in Theatre and Performance at Goldsmiths, University of London. Her recent publications include the chapter ‘American Invasions’ in The Cambridge Companion to British Theatre of the First World War (forthcoming, September 2022), as well as articles on Harley Granville Barker and Joan Littlewood in New Theatre Quarterly and Theatre, Dance, and Performer Training.
{"title":"‘The Best Thing I Ever Did on the Stage’: Edward Gordon Craig and the Purcell Operatic Society","authors":"P. Burt","doi":"10.1017/S0266464X22000185","DOIUrl":"https://doi.org/10.1017/S0266464X22000185","url":null,"abstract":"Although lasting only two and a half years, Edward Gordon Craig’s engagement with the Purcell Operatic Society was his most consistent and productive period of work on the stage. This article re-examines this time during Craig’s life in order to ascertain why he saw it to be the zenith of his career. In particular, it analyzes his work with the amateur group to argue that it was foundational in the development of his approach to theatre-making and, further, helped him to introduce the entity of theatre director to Britain and what the role of such a person could be. By examining this material in relation to wider contextual factors, the article also shows how the group offered audiences an alternative to the dominant ‘star’ system of the early 1900s. The article thus indicates why Craig scholarship needs to place the Purcell Operatic Society at the centre of any of its discussions. Philippa Burt is a lecturer in Theatre and Performance at Goldsmiths, University of London. Her recent publications include the chapter ‘American Invasions’ in The Cambridge Companion to British Theatre of the First World War (forthcoming, September 2022), as well as articles on Harley Granville Barker and Joan Littlewood in New Theatre Quarterly and Theatre, Dance, and Performer Training.","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"38 1","pages":"258 - 269"},"PeriodicalIF":0.1,"publicationDate":"2022-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46631309","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-20DOI: 10.1017/S0266464X22000082
Catherine Love
During coronavirus lockdowns, theatre-makers have been forced to get to grips with the internet as a platform for performance, prompting new conversations about theatre’s relationship with digital media. In this context, Seda Ilter’s new book – mostly written before the pandemic – reads as strikingly prescient. Mediatized Dramaturgy asks how plays have responded to the expansion of digital media since the 1990s. It’s a welcome addition to existing scholarship on theatre and mediatization, which has tended to focus on performance and neglect the play-text. Ilter also makes a valuable move beyond thinking about mediatization in terms of content, arguing thatwemust pay asmuch attention to the mode of representation as to the themes represented. Each of the chapters addresses an individual aspect ofmediatizeddramaturgy, considering elements such as language, characterization, and plot structure. Ilter examines a range of texts, adopting a refreshingly open definition of what constitutes a play. Practitioners whose work is explored include playwrights like Simon Stephens, Martin Crimp, and Caryl Churchill, as well as such genre-defying theatre-makers as Christopher Brett Bailey and John Jesurun. However, the writers discussed are mostly white, suggesting that there is further work to be done exploring how these mediatized forms intersect with Global Majority perspectives. Ilter’s analysis throughout is driven by a political interest in what plays can do in the contemporary world. She not only traces how playwrights have reflected aspects of our mediatized reality, but also assesses the critical efficacy of these efforts, using Hans-Thies Lehmann’s Postdramatic Theatre and Jacques Rancière’s work on dissensus and the distribution of the sensible as key theoretical reference points. Ultimately, Ilter favours ‘no-longerdramatic’ texts, arguing that this mode creates openings for critical rethinking. While the resistance that such plays offer to neoliberal capitalism is perhaps somewhat overstated,Mediatized Dramaturgy remains an engaging discussion of a still relatively nascent subset of contemporary playwriting. The book is at its best in the passages of detailed analysis of specific plays. One of Ilter’s most useful critical interventions is her introduction of the term ‘mediaturgical plays’ to refer to play-texts written through digital media technologies such as Twitter, using the fascinating case study of David Greig’s Yes/No Plays. In some ways, this book arrived just before its time. Several more recent plays – such as Jasmine Lee-Jones’s seven methods of killing kylie jenner and the work of Javaad Alipoor, along with various shows created online during the pandemic – speak to Ilter’s analysis, opening up further avenues to pursue in future. catherine love
在新冠疫情封锁期间，剧院制作人被迫将互联网作为表演平台，这引发了关于剧院与数字媒体关系的新对话。在这种背景下，Seda Ilter的新书——主要写在疫情之前——读起来非常有先见之明。《媒介戏剧》询问自20世纪90年代以来，戏剧如何应对数字媒体的扩张。这是对现有戏剧和中介学的一个可喜补充，后者倾向于专注于表演而忽视戏剧文本。伊尔特也做出了一个有价值的举动，超越了从内容上思考中介化，他认为我们必须像关注所代表的主题一样关注表现方式。每一章都阐述了多媒体叙事的一个单独方面，考虑了语言、人物塑造和情节结构等因素。伊尔特研究了一系列文本，对戏剧的构成进行了令人耳目一新的开放式定义。作品被探索的从业者包括西蒙·斯蒂芬斯、马丁·克里普和卡里尔·丘吉尔等剧作家，以及克里斯托弗·布雷特·贝利和约翰·杰苏伦等挑战流派的戏剧制作人。然而，讨论的作者大多是白人，这表明还有更多的工作要做，探索这些中介形式如何与全球多数人的观点相交。伊尔特的分析贯穿始终，是出于对戏剧在当代世界中能做什么的政治兴趣。她不仅追溯了剧作家如何反映我们被调解的现实的各个方面，还评估了这些努力的批判性效果，将汉斯·蒂斯·莱曼的《后戏剧剧院》和雅克·兰齐埃关于异议和理性的分配的工作作为关键的理论参考点。最终，伊尔特倾向于“无长篇小说”文本，认为这种模式为批判性反思创造了机会。虽然这类戏剧对新自由主义资本主义的抵制可能有些言过其实，但《媒介戏剧》仍然是对当代戏剧创作中一个相对新生的子集的一个引人入胜的讨论。这本书在对具体戏剧进行详细分析的段落中表现得最好。伊尔特最有用的批评干预措施之一是，她引入了“媒介戏剧”一词，指的是通过推特等数字媒体技术编写的戏剧文本，并使用了大卫·格雷格的《是/否戏剧》这一引人入胜的案例研究。从某些方面来说，这本书来得正是时候。最近的几部戏剧——比如Jasmine Lee Jones的《杀死凯莉·詹纳的七种方法》和Javaad Alipoor的作品，以及疫情期间在网上创作的各种节目——都与伊尔特的分析相吻合，为未来的追求开辟了进一步的途径。凯瑟琳爱
{"title":"Seda Ilter Mediatized Dramaturgy: The Evolution of Plays in the Media Age London: Methuen Drama, 2021. 240 p. £85. ISBN: 978-1-350-03115-9.","authors":"Catherine Love","doi":"10.1017/S0266464X22000082","DOIUrl":"https://doi.org/10.1017/S0266464X22000082","url":null,"abstract":"During coronavirus lockdowns, theatre-makers have been forced to get to grips with the internet as a platform for performance, prompting new conversations about theatre’s relationship with digital media. In this context, Seda Ilter’s new book – mostly written before the pandemic – reads as strikingly prescient. Mediatized Dramaturgy asks how plays have responded to the expansion of digital media since the 1990s. It’s a welcome addition to existing scholarship on theatre and mediatization, which has tended to focus on performance and neglect the play-text. Ilter also makes a valuable move beyond thinking about mediatization in terms of content, arguing thatwemust pay asmuch attention to the mode of representation as to the themes represented. Each of the chapters addresses an individual aspect ofmediatizeddramaturgy, considering elements such as language, characterization, and plot structure. Ilter examines a range of texts, adopting a refreshingly open definition of what constitutes a play. Practitioners whose work is explored include playwrights like Simon Stephens, Martin Crimp, and Caryl Churchill, as well as such genre-defying theatre-makers as Christopher Brett Bailey and John Jesurun. However, the writers discussed are mostly white, suggesting that there is further work to be done exploring how these mediatized forms intersect with Global Majority perspectives. Ilter’s analysis throughout is driven by a political interest in what plays can do in the contemporary world. She not only traces how playwrights have reflected aspects of our mediatized reality, but also assesses the critical efficacy of these efforts, using Hans-Thies Lehmann’s Postdramatic Theatre and Jacques Rancière’s work on dissensus and the distribution of the sensible as key theoretical reference points. Ultimately, Ilter favours ‘no-longerdramatic’ texts, arguing that this mode creates openings for critical rethinking. While the resistance that such plays offer to neoliberal capitalism is perhaps somewhat overstated,Mediatized Dramaturgy remains an engaging discussion of a still relatively nascent subset of contemporary playwriting. The book is at its best in the passages of detailed analysis of specific plays. One of Ilter’s most useful critical interventions is her introduction of the term ‘mediaturgical plays’ to refer to play-texts written through digital media technologies such as Twitter, using the fascinating case study of David Greig’s Yes/No Plays. In some ways, this book arrived just before its time. Several more recent plays – such as Jasmine Lee-Jones’s seven methods of killing kylie jenner and the work of Javaad Alipoor, along with various shows created online during the pandemic – speak to Ilter’s analysis, opening up further avenues to pursue in future. catherine love","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"38 1","pages":"195 - 195"},"PeriodicalIF":0.1,"publicationDate":"2022-04-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43979853","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-20DOI: 10.1017/S0266464X22000094
R. Mcmurray
During coronavirus lockdowns, theatre-makers have been forced to get to grips with the internet as a platform for performance, prompting new conversations about theatre’s relationship with digital media. In this context, Seda Ilter’s new book – mostly written before the pandemic – reads as strikingly prescient. Mediatized Dramaturgy asks how plays have responded to the expansion of digital media since the 1990s. It’s a welcome addition to existing scholarship on theatre and mediatization, which has tended to focus on performance and neglect the play-text. Ilter also makes a valuable move beyond thinking about mediatization in terms of content, arguing thatwemust pay asmuch attention to the mode of representation as to the themes represented. Each of the chapters addresses an individual aspect ofmediatizeddramaturgy, considering elements such as language, characterization, and plot structure. Ilter examines a range of texts, adopting a refreshingly open definition of what constitutes a play. Practitioners whose work is explored include playwrights like Simon Stephens, Martin Crimp, and Caryl Churchill, as well as such genre-defying theatre-makers as Christopher Brett Bailey and John Jesurun. However, the writers discussed are mostly white, suggesting that there is further work to be done exploring how these mediatized forms intersect with Global Majority perspectives. Ilter’s analysis throughout is driven by a political interest in what plays can do in the contemporary world. She not only traces how playwrights have reflected aspects of our mediatized reality, but also assesses the critical efficacy of these efforts, using Hans-Thies Lehmann’s Postdramatic Theatre and Jacques Rancière’s work on dissensus and the distribution of the sensible as key theoretical reference points. Ultimately, Ilter favours ‘no-longerdramatic’ texts, arguing that this mode creates openings for critical rethinking. While the resistance that such plays offer to neoliberal capitalism is perhaps somewhat overstated,Mediatized Dramaturgy remains an engaging discussion of a still relatively nascent subset of contemporary playwriting. The book is at its best in the passages of detailed analysis of specific plays. One of Ilter’s most useful critical interventions is her introduction of the term ‘mediaturgical plays’ to refer to play-texts written through digital media technologies such as Twitter, using the fascinating case study of David Greig’s Yes/No Plays. In some ways, this book arrived just before its time. Several more recent plays – such as Jasmine Lee-Jones’s seven methods of killing kylie jenner and the work of Javaad Alipoor, along with various shows created online during the pandemic – speak to Ilter’s analysis, opening up further avenues to pursue in future. catherine love
{"title":"Caoimhe McAvinchey\u0000Applied Theatre: Women and the Criminal Justice System London: Bloomsbury Methuen Drama, 2020. 247 p. £75.00. ISBN: 978-1-4742-6255-2.","authors":"R. Mcmurray","doi":"10.1017/S0266464X22000094","DOIUrl":"https://doi.org/10.1017/S0266464X22000094","url":null,"abstract":"During coronavirus lockdowns, theatre-makers have been forced to get to grips with the internet as a platform for performance, prompting new conversations about theatre’s relationship with digital media. In this context, Seda Ilter’s new book – mostly written before the pandemic – reads as strikingly prescient. Mediatized Dramaturgy asks how plays have responded to the expansion of digital media since the 1990s. It’s a welcome addition to existing scholarship on theatre and mediatization, which has tended to focus on performance and neglect the play-text. Ilter also makes a valuable move beyond thinking about mediatization in terms of content, arguing thatwemust pay asmuch attention to the mode of representation as to the themes represented. Each of the chapters addresses an individual aspect ofmediatizeddramaturgy, considering elements such as language, characterization, and plot structure. Ilter examines a range of texts, adopting a refreshingly open definition of what constitutes a play. Practitioners whose work is explored include playwrights like Simon Stephens, Martin Crimp, and Caryl Churchill, as well as such genre-defying theatre-makers as Christopher Brett Bailey and John Jesurun. However, the writers discussed are mostly white, suggesting that there is further work to be done exploring how these mediatized forms intersect with Global Majority perspectives. Ilter’s analysis throughout is driven by a political interest in what plays can do in the contemporary world. She not only traces how playwrights have reflected aspects of our mediatized reality, but also assesses the critical efficacy of these efforts, using Hans-Thies Lehmann’s Postdramatic Theatre and Jacques Rancière’s work on dissensus and the distribution of the sensible as key theoretical reference points. Ultimately, Ilter favours ‘no-longerdramatic’ texts, arguing that this mode creates openings for critical rethinking. While the resistance that such plays offer to neoliberal capitalism is perhaps somewhat overstated,Mediatized Dramaturgy remains an engaging discussion of a still relatively nascent subset of contemporary playwriting. The book is at its best in the passages of detailed analysis of specific plays. One of Ilter’s most useful critical interventions is her introduction of the term ‘mediaturgical plays’ to refer to play-texts written through digital media technologies such as Twitter, using the fascinating case study of David Greig’s Yes/No Plays. In some ways, this book arrived just before its time. Several more recent plays – such as Jasmine Lee-Jones’s seven methods of killing kylie jenner and the work of Javaad Alipoor, along with various shows created online during the pandemic – speak to Ilter’s analysis, opening up further avenues to pursue in future. catherine love","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"38 1","pages":"195 - 196"},"PeriodicalIF":0.1,"publicationDate":"2022-04-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41330303","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-20DOI: 10.1017/S0266464X22000070
S. Wilmer
The relationship between Gilles Deleuze and Samuel Beckett has excited many scholars and continues to be of major interest today. This article explores the Deleuzian concept of multiplicity by considering quantitative and qualitative multiplicities in Beckett’s work. In differentiating between these two types, Deleuze and Félix Guattari indicate that extensive or quantitative multiplicities are essentially numerical and can be counted and represented in space. This form of multiplicity is seen in Beckett’s use of various lists of items such as Molloy counting his sucking stones or Watt considering how to dispose of Mr Knott’s food. Qualitative multiplicities, by contrast, cannot be counted because they differ in kind from one another. They are represented in duration and are here observed in the minorization of language in How It Is, among other examples. S. E. Wilmer is Professor Emeritus of Drama at Trinity College in Dublin. His most recent publications include Performing Statelessness in Europe (Palgrave Macmillan, 2018) and (with co-editor Radek Przedpełski) Deleuze, Guattari, and the Art of Multiplicity (Edinburgh University Press, 2020). He is currently co-editing the Palgrave Handbook of Theatre and Migration.
吉尔·德勒兹和塞缪尔·贝克特之间的关系让许多学者感到兴奋，并在今天继续引起人们的极大兴趣。本文通过考察贝克特作品中数量和质量的多样性来探讨德勒兹的多样性概念。在区分这两种类型时，德勒兹和facimlix Guattari指出，广泛的或定量的多样性本质上是数字的，可以在空间中计算和表示。这种形式的多样性可以从贝克特对各种物品清单的使用中看到，比如莫洛伊数他的吸吮石，瓦特考虑如何处理诺特先生的食物。相比之下，质量上的多样性是无法计算的，因为它们在种类上彼此不同。它们在持续时间上表现出来，在《现状》中，在其他例子中，我们可以看到语言的少数化。S. E. Wilmer是都柏林三一学院戏剧荣誉教授。他最近的出版物包括在欧洲执行无国籍状态(Palgrave Macmillan, 2018)和(与共同编辑Radek Przedpełski)德勒兹，瓜塔里和多样性的艺术(爱丁堡大学出版社，2020)。他目前正在参与编辑《帕尔格雷夫戏剧与移民手册》。
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Pub Date : 2022-04-20DOI: 10.1017/S0266464X22000100
D. Pattie
examples of work with limited previous documentation in order to ‘extend the frames of reference’. The main body of this book is comprised of twelve chapters, authored by a range of contributors, all experts in their fields of work. The chapters include a range of applied theatre case studies, interviews, and essays, offering an insight into a breadth of practice in the sector. The range of contributors covers an international scope, including the USA, UK, Australia, and South Africa. Their various theatre programmes range from weekly drama-based workshops to film and singing projects, to radio plays and more. And although each is unique in its specific context, process, and product, there is a sense of connection between them. The contributors each demonstrate an awareness of the intricate complexities of practice in this environment and offer in-depth critical analysis of the socio-political framework in which they are working, particularly in relation to gendered experiences. Extracts of performance texts are interspersed through the chapters, and these are a welcome addition. They come froma range ofCleanBreak’swork, and have all been written by women who have experience of the criminal justice sector.McAvinchey states that she included these as she was ‘aware that the voices of the subjects of this book’ are ‘carefully mediated’ by others. Along with various quotes by the participants interspersedwithin the chapters, the performance texts offer a valuable reminder of their voices, and allow the experiences of both facilitators and prisoners to sit at the heart of the book. This book, then, will be of interest to applied theatre researchers and practitioners, students interested in theatre in the criminal justice sector, and those with interest in feminist studies, particularly feminist criminology. The reader can anticipate not only an engaging and accessible read but one containing honest and insightful reflections on newunderstandingswhich have unfolded through the theatre practice. Women and the Criminal Justice System provides a rich and thorough analysis of theatre work which negotiates ethical and pragmatic issues in order to strive to meet the needs of its participants, while encouraging audiences both within and out of the prison walls to consider the challenges of women in the criminal justice system. rachel mcmurray
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Pub Date : 2022-04-20DOI: 10.1017/S0266464X22000069
J. Pinder
This article examines the meaning of the ‘impolitical’ regarding cases of impolitical theatre and associated critical discourse, with reference to Rodolfo Usigli and Raymond Williams, among others. It is argued that ‘impolitical’ theatre represents social relations from the standpoint of the ideal of culture. The analysis starts with Richard Schechner’s critique of the original Broadway production of Edward Albee’s Who’s Afraid of Virginia Woolf? and discusses this play, segueing into The Performance Group’s Dionysus in 69. The author indicates the differences of theatre practice between the examples chosen, and shows that these theatres nevertheless participate in the same form of theatrical representation as they broach similar social questions of moment in the Unites States in the 1960s. John Yves Pinder has recently received his PhD from the University of Leeds. He is currently teaching at Leuphana University of Lüneberg.
本文通过参考鲁道夫·乌西格利和雷蒙德·威廉姆斯等人的作品，探讨了非政治戏剧和相关批评话语中“非政治”的含义。有人认为，从文化理想的角度来看，“非政治”戏剧代表了社会关系。分析开始于理查德·谢纳对百老汇原版爱德华·阿尔比的《谁怕弗吉尼亚·伍尔夫》的批评。并讨论了这出戏，接着是69年表演团体的《酒神》作者指出了所选例子之间戏剧实践的差异，并表明这些剧院参与了相同的戏剧表现形式，因为它们在20世纪60年代的美国提出了类似的社会问题。John Yves Pinder最近获得了利兹大学的博士学位。他目前在Leuphana University of l内贝格大学任教。
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