Pub Date : 2023-11-08DOI: 10.1017/s0266464x23000246
Stephen Barber
This article examines the solo work Lovers (1994) by Teiji Furuhashi, a prominent member of the influential Dumb Type group in Japan’s theatre and dance scene from the 1980s onwards. Lovers was Furuhashi’s only solo work; he died shortly after its installation at a Tokyo art centre in 1994. The essay examines the work in the context of themes of mobility, migration, and shifting corporealities in Japan across the post-war decades, especially through the key event for art and technology of those decades, which was the Osaka World Exposition of 1970. Lovers was commissioned by the arts laboratory of a Japanese technology corporation, Canon Inc., and incorporated what at the time were innovations in moving-image elements within theatre and dance. But those technologies rapidly became obsolete, and the essay explores the dilemmas about the digital experienced by the curators of the New York Museum of Modern Art in ‘upgrading’ Lovers to show it in their galleries in 2016–17.
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Pub Date : 2023-11-08DOI: 10.1017/s0266464x23000222
Yury Butusov, Maria Shevtsova
Undoubtedly one of the most prominent and most important Russian directors of the past two decades, Yury Butusov here refers to several landmarks of his artistic trajectory, gradually revealing a sense of oeuvre, of a body of work connected by a distinctive worldview. Not all of his productions of exceptional significance are cited here, and Flight (2015), at the Vakhtangov Theatre in Moscow, not having found its rightful place here, appears separately at the end. This Conversation, while intentionally taking a wide perspective, nevertheless focuses on production details so as to foreground various artistic qualities that distinguish his approach. Butusov discusses at some length what constitutes his directorial method and methodology, stressing, above all, the primacy of creative freedom for his actors and himself from which emerge complex and highly charged theatre constructions. Butusov, who is against war as such, speaks of his position on the Russian-Ukrainian war, which led to his resignation in 2018 from the artistic directorship of the Lensoviet Theatre in St Petersburg. He became Principal Director of the Vakhtangov, alongside the acclaimed Rimas Tuminas, Artistic Director of this theatre. Tuminas resigned from his post in spring 2022. Butusov and his family left Russia for Paris, and Butusov resigned from the Vakhtangov in November 2022. His production of Tom Stoppard’s Rosencrantz and Guildenstern are Dead is to be premiered at the Russian- and Lithuanian-speaking Vilnius Old Theatre in September 2023. This conversation took place on 23 March and 27 April 2023 on Zoom, and was translated from the Russian and edited by Maria Shevtsova.
{"title":"In Conversation in Apocalyptic Times","authors":"Yury Butusov, Maria Shevtsova","doi":"10.1017/s0266464x23000222","DOIUrl":"https://doi.org/10.1017/s0266464x23000222","url":null,"abstract":"<p>Undoubtedly one of the most prominent and most important Russian directors of the past two decades, Yury Butusov here refers to several landmarks of his artistic trajectory, gradually revealing a sense of <span>oeuvre</span>, of a body of work connected by a distinctive worldview. Not all of his productions of exceptional significance are cited here, and <span>Flight</span> (2015), at the Vakhtangov Theatre in Moscow, not having found its rightful place here, appears separately at the end. This Conversation, while intentionally taking a wide perspective, nevertheless focuses on production details so as to foreground various artistic qualities that distinguish his approach. Butusov discusses at some length what constitutes his directorial method and methodology, stressing, above all, the primacy of creative freedom for his actors and himself from which emerge complex and highly charged theatre constructions. Butusov, who is against war as such, speaks of his position on the Russian-Ukrainian war, which led to his resignation in 2018 from the artistic directorship of the Lensoviet Theatre in St Petersburg. He became Principal Director of the Vakhtangov, alongside the acclaimed Rimas Tuminas, Artistic Director of this theatre. Tuminas resigned from his post in spring 2022. Butusov and his family left Russia for Paris, and Butusov resigned from the Vakhtangov in November 2022. His production of Tom Stoppard’s <span>Rosencrantz and Guildenstern are Dead</span> is to be premiered at the Russian- and Lithuanian-speaking Vilnius Old Theatre in September 2023. This conversation took place on 23 March and 27 April 2023 on Zoom, and was translated from the Russian and edited by Maria Shevtsova.</p>","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71517997","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 : 2023-11-01DOI: 10.1017/s0266464x23000210
An abstract is not available for this content so a preview has been provided. As you have access to this content, a full PDF is available via the ‘Save PDF’ action button.
{"title":"NTQ volume 39 issue 4 Cover and Front matter","authors":"","doi":"10.1017/s0266464x23000210","DOIUrl":"https://doi.org/10.1017/s0266464x23000210","url":null,"abstract":"An abstract is not available for this content so a preview has been provided. As you have access to this content, a full PDF is available via the ‘Save PDF’ action button.","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135564924","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 : 2023-11-01DOI: 10.1017/s0266464x23000301
An abstract is not available for this content so a preview has been provided. As you have access to this content, a full PDF is available via the ‘Save PDF’ action button.
{"title":"NTQ volume 39 issue 4 Cover and Back matter","authors":"","doi":"10.1017/s0266464x23000301","DOIUrl":"https://doi.org/10.1017/s0266464x23000301","url":null,"abstract":"An abstract is not available for this content so a preview has been provided. As you have access to this content, a full PDF is available via the ‘Save PDF’ action button.","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135565134","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 : 2023-11-01DOI: 10.1017/s0266464x23000295
Maggie B. Gale
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
此内容的摘要不可用，因此提供了预览。有关如何访问此内容的信息，请使用上面的获取访问链接。
{"title":"Aleks Sierz Good Nights Out: A History of Popular British Theatre, 1940–2015 London: Methuen, 2020. 228 p. £90. ISBN 978-1-350046-21-4.","authors":"Maggie B. Gale","doi":"10.1017/s0266464x23000295","DOIUrl":"https://doi.org/10.1017/s0266464x23000295","url":null,"abstract":"An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135564907","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 : 2023-11-01DOI: 10.1017/s0266464x2300026x
Rashna Darius Nicholson
‘Decolonization’ has superseded ‘postcolonial’ as the most compelling catchword of the present moment. Broadly speaking, the term possesses two parallel genealogies: African decolonization and Latin American decoloniality. But where are Asian territories such as India and Hong Kong, and, more specifically, fields such as theatre history, located in the debate? This article analyzes the stakes and struggles, inner contradictions and blind spots, involved in decolonizing or decentring the curriculum. It asks whether the decolonial temporalities of our time constitute an adequate lens to theorize theatre history by firstly examining the term’s misuse by popular historians, media, and government; and, second, by interrogating a spectrum of positions on ‘Indian Theatre’ from the nineteenth century onwards. Through this double focus, the article probes the scholarly possibilities for undoing the dominant mode when the ‘decolonization trope itself becomes a tool for colonization’.
{"title":"Decolonization and Theatre History","authors":"Rashna Darius Nicholson","doi":"10.1017/s0266464x2300026x","DOIUrl":"https://doi.org/10.1017/s0266464x2300026x","url":null,"abstract":"‘Decolonization’ has superseded ‘postcolonial’ as the most compelling catchword of the present moment. Broadly speaking, the term possesses two parallel genealogies: African decolonization and Latin American decoloniality. But where are Asian territories such as India and Hong Kong, and, more specifically, fields such as theatre history, located in the debate? This article analyzes the stakes and struggles, inner contradictions and blind spots, involved in decolonizing or decentring the curriculum. It asks whether the decolonial temporalities of our time constitute an adequate lens to theorize theatre history by firstly examining the term’s misuse by popular historians, media, and government; and, second, by interrogating a spectrum of positions on ‘Indian Theatre’ from the nineteenth century onwards. Through this double focus, the article probes the scholarly possibilities for undoing the dominant mode when the ‘decolonization trope itself becomes a tool for colonization’.","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135565136","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 : 2023-11-01DOI: 10.1017/s0266464x23000283
Una Bauer
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
此内容的摘要不可用，因此提供了预览。有关如何访问此内容的信息，请使用上面的获取访问链接。
{"title":"Peta Tait Forms of Emotion: Human to Nonhuman in Drama, Theatre, and Contemporary Performance London and New York: Routledge, 2022. 255 p. £96. ISBN 978-0-367-64497-0.","authors":"Una Bauer","doi":"10.1017/s0266464x23000283","DOIUrl":"https://doi.org/10.1017/s0266464x23000283","url":null,"abstract":"An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135564252","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 : 2023-07-28DOI: 10.1017/S0266464X23000143
Juliusz Tyszka
Teatr Ósmego Dnia (the Theatre of the Eighth Day), established in Poznań in 1964, was a part of Polish student theatre. Between 1976 and 1981, it became one of the most important companies in the history of the Polish theatre, producing several masterpieces. It also became a legendary grouping of democratic, anti-communist opposition. The persecution it was subjected to was caused by censorship, the secret police, and the administration at all levels. However, the members of the group managed to overcome everyday fear, face the totalitarian authorities openly, and create unforgettable artistic works. Four of them, who belonged to the group from the early 1970s, still maintain the ethical principles and artistic strategies adopted at that time, and thus now clash with the ideology of the current ruling administration, which is the right-wing Law and Justice Party.
{"title":"Risky Hitchhiking, and Other Stories about the Theatre of the Eighth Day","authors":"Juliusz Tyszka","doi":"10.1017/S0266464X23000143","DOIUrl":"https://doi.org/10.1017/S0266464X23000143","url":null,"abstract":"Teatr Ósmego Dnia (the Theatre of the Eighth Day), established in Poznań in 1964, was a part of Polish student theatre. Between 1976 and 1981, it became one of the most important companies in the history of the Polish theatre, producing several masterpieces. It also became a legendary grouping of democratic, anti-communist opposition. The persecution it was subjected to was caused by censorship, the secret police, and the administration at all levels. However, the members of the group managed to overcome everyday fear, face the totalitarian authorities openly, and create unforgettable artistic works. Four of them, who belonged to the group from the early 1970s, still maintain the ethical principles and artistic strategies adopted at that time, and thus now clash with the ideology of the current ruling administration, which is the right-wing Law and Justice Party.","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46719898","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 : 2023-07-28DOI: 10.1017/S0266464X23000179
Bryan Brown
Edward and Farrier’s second edited volume turns attentions to historical drag with a collection of examples ranging from nineteenth-century Japan via Barbados to the ‘FunPubs’ofNorthernEngland and panto in Belfast. Reflecting the first volume’s desire to investigate lesser-known drag practices, these fifteen chapters act to illuminate and preserve the historical and cultural multiplicity of drag. Despite the range of examples, overarching themes do emerge. Jacob Bloomfield’s investigation of ex-service men performing drag after the Second World War counterpoints Isabelle CoyDibley’s detailed examination of the Japanese allfemale Takarazuka Revue. While they stand at the opposing ends of queening and kinging practice (to say nothing of stylistic and cultural differences), both cases are set against heavily patriarchal societies but can promote themselves as ‘family fun’ due their heavily staged nature. This acceptability, though, only highlights the limitations of drag, as the Japanese women are encouraged to renounce their masculine roles to be dutiful wives and mothers once again. The importance of staging is foreshadowed in Penny Arcade’s foreword when she recalls the impact of Billy Hansen. Billy was a young man who won the tri-state drag competition in Hartford, Connecticut, by eschewing the fashionable impressions of Hollywood stars and embracing his ability to pass as a woman without makeup and go shopping, complete with lady wallet. Hansen’s victory indicated a shift in the dragworld from entertainment, as seen in Bloomfield andCoyDibley’s chapters, to also embrace a more selfaware and political drag. As with the first volume, this collection has sought to represent many facets of drag. Farrier’s own chapter on the importance of kinging is an important one that, along with Isabelle CoyDibley’s, points to the different challenges faced by kings when performing drag within a patriarchal system. While drag has developed a subgenre of lifelike imitation, in the art of kinging a difficult and politically charged tightrope is being walked where imitation often tellingly stops short of a lifelike imitation of the hegemonic male. Complicating drag further is Nando Messias’s powerful narrative, which explores the intersections of drag, race, and cultural variations of gender expression from a first-person perspective. Nick Ishmael-Perkins follows by peeling away the layers of Mother Sally, the ‘undersexed and hypersexual’ character of Barbadian carnival, revealing her to be a contested character that negotiates with the competing interests of folklore tradition, carnival, colonialism, Christianity, tourism, and shifting social attitudes to the LGBTQ movement. Meanwhile Simon Dodi’s chapter on camp as a culturally contested and evolving phenomenon that traces four approaches, from Sontag’s aesthetic reading to Meyer’s camp as strategic performance, is a particular highlight of the volume. This chapter is arguably a key by which to unlock the po
{"title":"John Freedman, ed. A Dictionary of Emotions in a Time of War: Twenty Short Works by Ukrainian Playwrights Chapel Hill, North Carolina: Laertes Press, 2023. 299 p. £20.00. ISBN 978-1-942281-44-3.","authors":"Bryan Brown","doi":"10.1017/S0266464X23000179","DOIUrl":"https://doi.org/10.1017/S0266464X23000179","url":null,"abstract":"Edward and Farrier’s second edited volume turns attentions to historical drag with a collection of examples ranging from nineteenth-century Japan via Barbados to the ‘FunPubs’ofNorthernEngland and panto in Belfast. Reflecting the first volume’s desire to investigate lesser-known drag practices, these fifteen chapters act to illuminate and preserve the historical and cultural multiplicity of drag. Despite the range of examples, overarching themes do emerge. Jacob Bloomfield’s investigation of ex-service men performing drag after the Second World War counterpoints Isabelle CoyDibley’s detailed examination of the Japanese allfemale Takarazuka Revue. While they stand at the opposing ends of queening and kinging practice (to say nothing of stylistic and cultural differences), both cases are set against heavily patriarchal societies but can promote themselves as ‘family fun’ due their heavily staged nature. This acceptability, though, only highlights the limitations of drag, as the Japanese women are encouraged to renounce their masculine roles to be dutiful wives and mothers once again. The importance of staging is foreshadowed in Penny Arcade’s foreword when she recalls the impact of Billy Hansen. Billy was a young man who won the tri-state drag competition in Hartford, Connecticut, by eschewing the fashionable impressions of Hollywood stars and embracing his ability to pass as a woman without makeup and go shopping, complete with lady wallet. Hansen’s victory indicated a shift in the dragworld from entertainment, as seen in Bloomfield andCoyDibley’s chapters, to also embrace a more selfaware and political drag. As with the first volume, this collection has sought to represent many facets of drag. Farrier’s own chapter on the importance of kinging is an important one that, along with Isabelle CoyDibley’s, points to the different challenges faced by kings when performing drag within a patriarchal system. While drag has developed a subgenre of lifelike imitation, in the art of kinging a difficult and politically charged tightrope is being walked where imitation often tellingly stops short of a lifelike imitation of the hegemonic male. Complicating drag further is Nando Messias’s powerful narrative, which explores the intersections of drag, race, and cultural variations of gender expression from a first-person perspective. Nick Ishmael-Perkins follows by peeling away the layers of Mother Sally, the ‘undersexed and hypersexual’ character of Barbadian carnival, revealing her to be a contested character that negotiates with the competing interests of folklore tradition, carnival, colonialism, Christianity, tourism, and shifting social attitudes to the LGBTQ movement. Meanwhile Simon Dodi’s chapter on camp as a culturally contested and evolving phenomenon that traces four approaches, from Sontag’s aesthetic reading to Meyer’s camp as strategic performance, is a particular highlight of the volume. This chapter is arguably a key by which to unlock the po","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42911574","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}
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