Pub Date : 2023-01-30DOI: 10.1017/S0266464X22000355
Signy Lynch, Michelle MacArthur
This article examines recent controversies sparked by the critical reception of work by Global Majority theatre artists in Canada and the USA, including Yolanda Bonnell, Yvette Nolan, and Antoinette Nwandu. It argues that, when faced with works that fall outside of their presumed expertise and experience, critics commonly resort to a strategy of critical disengagement, which displaces the focus from the work and refuses to evaluate it on its own terms. Through an analysis of case studies, we elucidate the concept of critical disengagement and its three distinct categories, ‘othering,’ ‘imposing’, and ‘self-staging’. These acts are representative of larger patterns in dominant theatre criticism practices, which are descended from neoclassical and Enlightenment formulations of criticism, and centre around the ideals of fair judgement and critical objectivity. When applied to the work of Global Majority theatre artists by a largely white critical establishment, they enact, consolidate, and reproduce what Gayatri Spivak calls epistemic violence. During this pivotal moment, as theatre communities in the Global North respond to calls for racial justice and decolonization, this article sheds light on the often overlooked role of criticism in sustaining white supremacy within theatre production and reception, and stresses the urgent need to re-imagine critical practices. Signy Lynch is a postdoctoral research fellow at the University of Toronto Mississauga and recipient of the Governor General’s Gold Medal (York University, 2022). She has published articles on theatre criticism and intercultural theatre in Contemporary Theatre Review, Canadian Theatre Review, and Theatre Research in Canada. Michelle MacArthur is associate professor at the University of Windsor’s School of Dramatic Art. She has published articles in Contemporary Theatre Review, Journal of Dramatic Theory and Criticism, Theatre Research in Canada, Canadian Theatre Review, and several edited volumes. She is the editor of Voices of a Generation: Three Millennial Plays (Playwrights Canada Press, 2022).
{"title":"Critical Disengagement: The Epistemic and White Supremacist Violence of Theatre Criticism in Canada and the USA","authors":"Signy Lynch, Michelle MacArthur","doi":"10.1017/S0266464X22000355","DOIUrl":"https://doi.org/10.1017/S0266464X22000355","url":null,"abstract":"This article examines recent controversies sparked by the critical reception of work by Global Majority theatre artists in Canada and the USA, including Yolanda Bonnell, Yvette Nolan, and Antoinette Nwandu. It argues that, when faced with works that fall outside of their presumed expertise and experience, critics commonly resort to a strategy of critical disengagement, which displaces the focus from the work and refuses to evaluate it on its own terms. Through an analysis of case studies, we elucidate the concept of critical disengagement and its three distinct categories, ‘othering,’ ‘imposing’, and ‘self-staging’. These acts are representative of larger patterns in dominant theatre criticism practices, which are descended from neoclassical and Enlightenment formulations of criticism, and centre around the ideals of fair judgement and critical objectivity. When applied to the work of Global Majority theatre artists by a largely white critical establishment, they enact, consolidate, and reproduce what Gayatri Spivak calls epistemic violence. During this pivotal moment, as theatre communities in the Global North respond to calls for racial justice and decolonization, this article sheds light on the often overlooked role of criticism in sustaining white supremacy within theatre production and reception, and stresses the urgent need to re-imagine critical practices. Signy Lynch is a postdoctoral research fellow at the University of Toronto Mississauga and recipient of the Governor General’s Gold Medal (York University, 2022). She has published articles on theatre criticism and intercultural theatre in Contemporary Theatre Review, Canadian Theatre Review, and Theatre Research in Canada. Michelle MacArthur is associate professor at the University of Windsor’s School of Dramatic Art. She has published articles in Contemporary Theatre Review, Journal of Dramatic Theory and Criticism, Theatre Research in Canada, Canadian Theatre Review, and several edited volumes. She is the editor of Voices of a Generation: Three Millennial Plays (Playwrights Canada Press, 2022).","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"39 1","pages":"34 - 49"},"PeriodicalIF":0.1,"publicationDate":"2023-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46310164","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 : 2023-01-30DOI: 10.1017/S0266464X22000331
Bryan Brown
On 9 August 2020, Belarus erupted in protest over the falsified election results promoted and endorsed by existing president Aliaksandar Lukashenka. Playwright, director, and member of the Coordination Council for the peaceful transfer of power in Belarus, Andrei Kureichyk was one of the thousands on the streets that month. In early September he finished a new play depicting the events leading up to and surrounding the largest anti-government demonstrations in Belarus’s history. Before going into hiding, Kureichyk sent the play, Insulted. Belarus, to former Russian theatre critic John Freedman for translation. Together, the two men hoped to have a few theatres in various European and North American countries give a reading of the play in solidarity with the people of Belarus. Neither of them expected that, within two months, the play would be translated into eighteen languages and receive over seventy-seven readings on digital platforms. While many companies were eager to add their name to the global ledger of solidarity, the rise of authoritarianism, as well as the renewed reckoning with systemic racism and sexism in many cultures and countries around the world, additionally meant that many theatres found in the play a vehicle to reflect and comment on their own situations. This article, written by one of the initial participants of the project, attempts to chart how the Worldwide Readings of Insulted. Belarus navigated the translation of protest from Belarus to the world. Bryan Brown is Senior Lecturer at the University of Exeter and co-director of visual theatre company ARTEL (American Russian Theatre Ensemble Laboratory) and author of A History of the Theatre Laboratory (Routledge, 2019). He is a member of the editorial board of Theatre Dance and Performance Training, co-editing the special issue ‘Training Places: Dartington College of Arts’ (2018).
{"title":"The Translation of Protest: The Worldwide Readings Project of Andrei Kureichyk’s Insulted. Belarus","authors":"Bryan Brown","doi":"10.1017/S0266464X22000331","DOIUrl":"https://doi.org/10.1017/S0266464X22000331","url":null,"abstract":"On 9 August 2020, Belarus erupted in protest over the falsified election results promoted and endorsed by existing president Aliaksandar Lukashenka. Playwright, director, and member of the Coordination Council for the peaceful transfer of power in Belarus, Andrei Kureichyk was one of the thousands on the streets that month. In early September he finished a new play depicting the events leading up to and surrounding the largest anti-government demonstrations in Belarus’s history. Before going into hiding, Kureichyk sent the play, Insulted. Belarus, to former Russian theatre critic John Freedman for translation. Together, the two men hoped to have a few theatres in various European and North American countries give a reading of the play in solidarity with the people of Belarus. Neither of them expected that, within two months, the play would be translated into eighteen languages and receive over seventy-seven readings on digital platforms. While many companies were eager to add their name to the global ledger of solidarity, the rise of authoritarianism, as well as the renewed reckoning with systemic racism and sexism in many cultures and countries around the world, additionally meant that many theatres found in the play a vehicle to reflect and comment on their own situations. This article, written by one of the initial participants of the project, attempts to chart how the Worldwide Readings of Insulted. Belarus navigated the translation of protest from Belarus to the world. Bryan Brown is Senior Lecturer at the University of Exeter and co-director of visual theatre company ARTEL (American Russian Theatre Ensemble Laboratory) and author of A History of the Theatre Laboratory (Routledge, 2019). He is a member of the editorial board of Theatre Dance and Performance Training, co-editing the special issue ‘Training Places: Dartington College of Arts’ (2018).","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"39 1","pages":"1 - 17"},"PeriodicalIF":0.1,"publicationDate":"2023-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41957397","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 : 2023-01-30DOI: 10.1017/S0266464X22000380
Frank Camilleri
In this article, the performing body is considered via a three-pronged approach involving affect theory and affective science, a scene from King Lear, and long-distance running. Inspired by the chiaroscuro of painting, this variety and mix of sources act as a methodological device to shed unfamiliar light (and shade) on the elusive topic of affect. While ‘body’ is viewed from the perspective of ‘bodyworld’ to denote constitutive and reciprocally shaping human–nonhuman relationalities, the ‘performance’ that occurs in bodies is analyzed in terms of a ‘drama of affect’ to signal the activity that germinates and circulates at various levels of consciousness in human behaviour, whether aesthetic, athletic, or daily. Frank Camilleri is Professor of Theatre Studies at the University of Malta and Artistic Director of Icarus Performance Project. He has performed, given workshops, and published various texts on performer training, theatre as a laboratory, and practice as research. He is the author of Performer Training Reconfigured: Post-Psychophysical Perspectives for the Twenty-first Century (Bloomsbury, 2019) and Performer Training for Actors and Athletes (Bloomsbury, forthcoming).
{"title":"Seeing it Feelingly: On Affect and Bodyworld in Performance","authors":"Frank Camilleri","doi":"10.1017/S0266464X22000380","DOIUrl":"https://doi.org/10.1017/S0266464X22000380","url":null,"abstract":"In this article, the performing body is considered via a three-pronged approach involving affect theory and affective science, a scene from King Lear, and long-distance running. Inspired by the chiaroscuro of painting, this variety and mix of sources act as a methodological device to shed unfamiliar light (and shade) on the elusive topic of affect. While ‘body’ is viewed from the perspective of ‘bodyworld’ to denote constitutive and reciprocally shaping human–nonhuman relationalities, the ‘performance’ that occurs in bodies is analyzed in terms of a ‘drama of affect’ to signal the activity that germinates and circulates at various levels of consciousness in human behaviour, whether aesthetic, athletic, or daily. Frank Camilleri is Professor of Theatre Studies at the University of Malta and Artistic Director of Icarus Performance Project. He has performed, given workshops, and published various texts on performer training, theatre as a laboratory, and practice as research. He is the author of Performer Training Reconfigured: Post-Psychophysical Perspectives for the Twenty-first Century (Bloomsbury, 2019) and Performer Training for Actors and Athletes (Bloomsbury, forthcoming).","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"39 1","pages":"69 - 80"},"PeriodicalIF":0.1,"publicationDate":"2023-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45362559","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 : 2022-10-18DOI: 10.1017/S0266464X22000239
D. Varney
This article uses historical-ecological insights for a re-reading of two little-known mid-twentieth-century Australian plays, Oriel Gray’s The Torrents and Eunice Hanger’s Flood, which highlight developments relevant to the environmental disasters of today. In particular, the article focuses on the significance of key cultural assumptions embedded in the texts – and a revival of The Torrents in 2019 – including those to do with land use in a period of accelerating development. This approach offers new insights into the dominance of mining, irrigation, and dam-building activities within the Australian ethos, landscape, and economy. One of these insights is the framing of development as progressive. The article thus also examines how development projected as progressive takes place amid the continuing denial of prior occupation of the land by First Nations peoples and of knowledge systems developed over thousands of years. The intersectional settler-colonialist-ecocritical approach here seeks to capture the compounding ecosystem that is modern Australian theatre and its critique. The intention is not to apply revisionist critiques of 1950s plays but to explore the historical relationship between humans, colonialism, and the physical environment over time. Denise Varney is Professor of Theatre Studies in the School of Culture and Communication at the University of Melbourne. Her research is in modern and contemporary theatre and performance, with published work in the areas of ecocriticism, feminism, and Australian theatre. Her most recent book is Patrick White’s Theatre: Australian Modernism on Stage 1960–2018 (Sydney University Press, 2021).
{"title":"‘Droughts and Flooding Rains’: Ecology and Australian Theatre in the 1950s","authors":"D. Varney","doi":"10.1017/S0266464X22000239","DOIUrl":"https://doi.org/10.1017/S0266464X22000239","url":null,"abstract":"This article uses historical-ecological insights for a re-reading of two little-known mid-twentieth-century Australian plays, Oriel Gray’s The Torrents and Eunice Hanger’s Flood, which highlight developments relevant to the environmental disasters of today. In particular, the article focuses on the significance of key cultural assumptions embedded in the texts – and a revival of The Torrents in 2019 – including those to do with land use in a period of accelerating development. This approach offers new insights into the dominance of mining, irrigation, and dam-building activities within the Australian ethos, landscape, and economy. One of these insights is the framing of development as progressive. The article thus also examines how development projected as progressive takes place amid the continuing denial of prior occupation of the land by First Nations peoples and of knowledge systems developed over thousands of years. The intersectional settler-colonialist-ecocritical approach here seeks to capture the compounding ecosystem that is modern Australian theatre and its critique. The intention is not to apply revisionist critiques of 1950s plays but to explore the historical relationship between humans, colonialism, and the physical environment over time. Denise Varney is Professor of Theatre Studies in the School of Culture and Communication at the University of Melbourne. Her research is in modern and contemporary theatre and performance, with published work in the areas of ecocriticism, feminism, and Australian theatre. Her most recent book is Patrick White’s Theatre: Australian Modernism on Stage 1960–2018 (Sydney University Press, 2021).","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"38 1","pages":"319 - 332"},"PeriodicalIF":0.1,"publicationDate":"2022-10-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44407431","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 : 2022-10-18DOI: 10.1017/s0266464x2200029x
Cara Berger
libretto directly with his musical score. Prokofiev left Russia for the United States in 1918, where he wrote his opera in the abrupt dialogue Bartig beats out, like music. Love for Three Oranges was premiered in Chicago in 1921, and in Leningrad in 1926, directed by Sergey Radlov – a detail among other necessary details in Bartig’s map of its itinerary. (Radlov was formerly Meyerhold’s student.) Inna Naroditskaya lovingly charts its music, and Natalia Savkina its narrative. The perplexing thing is that Prokofiev and Meyerhold were friends, yet the former never acknowledged, not even at the beginning (before Meyerhold’s politics spelled his doom), that Meyerhold’s play was his immediate inspiration; and Gozzi, who had become a third degree of separation, was not of direct interest to his artistic ambitions. Posner rightly points out the discrepancy in the Italian and Russian titles, explaining that collaborators had agreed to ‘of’ in the Italian and ‘for’ in the Russian because this corresponds with each language. What is the fiaba of this wonderful story, in an erudite book invaluable both for those who know something about its subject and those who would like to know? It is that accrued overwriting gives a complete orange! maria shevtsova
{"title":"Lisa Woynarski\u0000Ecodramaturgies: Theatre, Performance and Climate Change London: Palgrave Macmillan, 2020. 239 p. £71.50. ISBN: 978-3-030-55853-6.","authors":"Cara Berger","doi":"10.1017/s0266464x2200029x","DOIUrl":"https://doi.org/10.1017/s0266464x2200029x","url":null,"abstract":"libretto directly with his musical score. Prokofiev left Russia for the United States in 1918, where he wrote his opera in the abrupt dialogue Bartig beats out, like music. Love for Three Oranges was premiered in Chicago in 1921, and in Leningrad in 1926, directed by Sergey Radlov – a detail among other necessary details in Bartig’s map of its itinerary. (Radlov was formerly Meyerhold’s student.) Inna Naroditskaya lovingly charts its music, and Natalia Savkina its narrative. The perplexing thing is that Prokofiev and Meyerhold were friends, yet the former never acknowledged, not even at the beginning (before Meyerhold’s politics spelled his doom), that Meyerhold’s play was his immediate inspiration; and Gozzi, who had become a third degree of separation, was not of direct interest to his artistic ambitions. Posner rightly points out the discrepancy in the Italian and Russian titles, explaining that collaborators had agreed to ‘of’ in the Italian and ‘for’ in the Russian because this corresponds with each language. What is the fiaba of this wonderful story, in an erudite book invaluable both for those who know something about its subject and those who would like to know? It is that accrued overwriting gives a complete orange! maria shevtsova","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"38 1","pages":"395 - 395"},"PeriodicalIF":0.1,"publicationDate":"2022-10-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43874546","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 : 2022-10-18DOI: 10.1017/s0266464x22000288
M. Shevtsova
{"title":"Dassia N. Posner and Kevin Bartig, with Maria De Simone, eds.Three Loves for Three Oranges: Gozzi, Meyerhold, Prokofiev Bloomington, Indiana: Indiana University Press, 2021. 427 p. £40.00. ISBN: 978-0-253-05788-4.","authors":"M. Shevtsova","doi":"10.1017/s0266464x22000288","DOIUrl":"https://doi.org/10.1017/s0266464x22000288","url":null,"abstract":"","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-10-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"56846655","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 : 2022-10-18DOI: 10.1017/S0266464X22000264
Karen Morash
Since the 1990s, there has been a large number of ‘how-to’ manuals published in English for aspiring playwrights. By and large, these texts treat the pedagogy of playwriting as a recent phenomenon. However, a series of relatively unknown books from the mid-nineteenth century were written with the purpose of teaching the craft of dramatic writing, emphasizing the importance of a hands-on understanding of the theatre and the individual roles within it. This article argues that, while these books are representative of the historical context in which they were written, they also contain advice which is still useful for playwrights, along with fascinating individual characteristics. Texts featured include one of the earliest manuals discovered, written by the anonymous ‘A Dramatist’; a text by the first (known) woman to write a how-to manual in English; and a book which uses a mathematical formula as a foundation for writing a script. Karen Morash is Lead Academic Tutor on the BA Theatre Studies at Rose Bruford College of Theatre and Performance. She is a playwright and poet, and works as a dramaturg with the theatre company Head for Heights.
自20世纪90年代以来，为有抱负的剧作家出版了大量的英语“如何”手册。总的来说，这些文本将戏剧写作教学法视为一种新现象。然而，19世纪中期的一系列相对不为人知的书籍是为了教授戏剧写作技巧而写的，强调了对戏剧和戏剧中的个人角色的实际理解的重要性。这篇文章认为，虽然这些书代表了它们所写的历史背景，但它们也包含了对剧作家仍然有用的建议，以及引人入胜的个人特征。特色文本包括发现的最早的手册之一，由匿名的“戏剧家”撰写;由(已知的)第一个用英语写操作手册的女性撰写的文本;还有一本用数学公式作为写剧本基础的书。凯伦·莫拉什是罗斯布鲁福德戏剧与表演学院戏剧研究学士学位的首席学术导师。她是一位剧作家和诗人，也是戏剧公司Head for Heights的剧作家。
{"title":"Playwriting Manuals, 1888–1925: Jerome K. Jerome, Alfred Hennequin, Agnes Platt, and Moses Malevinsky","authors":"Karen Morash","doi":"10.1017/S0266464X22000264","DOIUrl":"https://doi.org/10.1017/S0266464X22000264","url":null,"abstract":"Since the 1990s, there has been a large number of ‘how-to’ manuals published in English for aspiring playwrights. By and large, these texts treat the pedagogy of playwriting as a recent phenomenon. However, a series of relatively unknown books from the mid-nineteenth century were written with the purpose of teaching the craft of dramatic writing, emphasizing the importance of a hands-on understanding of the theatre and the individual roles within it. This article argues that, while these books are representative of the historical context in which they were written, they also contain advice which is still useful for playwrights, along with fascinating individual characteristics. Texts featured include one of the earliest manuals discovered, written by the anonymous ‘A Dramatist’; a text by the first (known) woman to write a how-to manual in English; and a book which uses a mathematical formula as a foundation for writing a script. Karen Morash is Lead Academic Tutor on the BA Theatre Studies at Rose Bruford College of Theatre and Performance. She is a playwright and poet, and works as a dramaturg with the theatre company Head for Heights.","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"38 1","pages":"362 - 378"},"PeriodicalIF":0.1,"publicationDate":"2022-10-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43205761","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 : 2022-10-18DOI: 10.1017/S0266464X22000227
Gretchen E. Minton, Mike Gray
In this article Gretchen Minton and Mikey Gray discuss an adaptation of Shakespeare’s tragicomedy Cymbeline that toured Montana and surrounding states in the summer of 2021. Minton’s sections describe the eco-feminist aims of this production, which was part of an international project called ‘Cymbeline in the Anthropocene’, showing how the costumes, set design, and especially the emphasis upon the female characters created generative ways of thinking about the relationship between the human and the more-than-human worlds. Gray’s first-person narrative at the end of each section reflects upon her role of Imogen as she participated in an extensive summer tour across the Intermountain West and engaged with audience members about their own relationship to both theatre and the natural world. This is a story of transformation through environmentally inflected Shakespeare performance during the time of a global pandemic. Gretchen E. Minton is Professor of English at Montana State University, Bozeman, and editor of several early modern plays, including Timon of Athens, Troilus and Cressida, Twelfth Night, and The Revenger’s Tragedy. She is the dramaturg and script adaptor for Montana Shakespeare in the Parks and the co-founder of Montana InSite Theatre. Her directorial projects include A Doll’s House, Timon of Anaconda (see NTQ 145, February 2021), Shakespeare’s Walking Story, and Shakespeare for the Birds. Mikey Gray received her BA in Theatre and Performance from Bard College, New York, with a conservatory semester at NIDA (National Institute of Dramatic Art) in Sydney. She has performed in four productions with Montana Shakespeare in the Parks, while other actor engagements include Chicago Shakespeare Theater, American Conservatory Theater, Strawdog Theater Company, The Passage Theatre, and McCarter Theatre Center.
{"title":"The Ecological Resonance of Imogen’s Journey in Montana’s Parks","authors":"Gretchen E. Minton, Mike Gray","doi":"10.1017/S0266464X22000227","DOIUrl":"https://doi.org/10.1017/S0266464X22000227","url":null,"abstract":"In this article Gretchen Minton and Mikey Gray discuss an adaptation of Shakespeare’s tragicomedy Cymbeline that toured Montana and surrounding states in the summer of 2021. Minton’s sections describe the eco-feminist aims of this production, which was part of an international project called ‘Cymbeline in the Anthropocene’, showing how the costumes, set design, and especially the emphasis upon the female characters created generative ways of thinking about the relationship between the human and the more-than-human worlds. Gray’s first-person narrative at the end of each section reflects upon her role of Imogen as she participated in an extensive summer tour across the Intermountain West and engaged with audience members about their own relationship to both theatre and the natural world. This is a story of transformation through environmentally inflected Shakespeare performance during the time of a global pandemic. Gretchen E. Minton is Professor of English at Montana State University, Bozeman, and editor of several early modern plays, including Timon of Athens, Troilus and Cressida, Twelfth Night, and The Revenger’s Tragedy. She is the dramaturg and script adaptor for Montana Shakespeare in the Parks and the co-founder of Montana InSite Theatre. Her directorial projects include A Doll’s House, Timon of Anaconda (see NTQ 145, February 2021), Shakespeare’s Walking Story, and Shakespeare for the Birds. Mikey Gray received her BA in Theatre and Performance from Bard College, New York, with a conservatory semester at NIDA (National Institute of Dramatic Art) in Sydney. She has performed in four productions with Montana Shakespeare in the Parks, while other actor engagements include Chicago Shakespeare Theater, American Conservatory Theater, Strawdog Theater Company, The Passage Theatre, and McCarter Theatre Center.","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"38 1","pages":"299 - 318"},"PeriodicalIF":0.1,"publicationDate":"2022-10-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49613439","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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