Pub Date : 2022-10-18DOI: 10.1017/S0266464X22000240
Jacqueline M. Brown
Literary scholars and linguists have argued extensively that language is not simply a purely representational vehicle of thought but its determining medium, whose ordering powers not only shape cognizance of reality but are also actively involved in processes of imperialism and cultural erasure. It is the determinative yet slippery quality of language, prompting the loss of meaning in attempts at translation, that colonial powers manipulated to violent effect and which, as enacted in the plays of Nyoongah Indigenous Australian playwright Jack Davis, continue to haunt history and the present. This article considers how a history and culture made unspeakable by colonialism through the erasure of Indigenous Australian oral traditions, languages, and historical perspectives is translated on to the Anglophone stage in the plays of Davis, one of the first Indigenous playwrights to be published and performed internationally, and how this was received by the witnessing audience. Davis achieves this theatrical translation not only through the negotiation and manipulation of colonial language and verbatim history alongside Indigenous languages, enacting a kind of linguistic double consciousness, but also through physical theatre and dance. The latter are the central means of communicating meaning and knowledge in Nyoongah culture. Jacqueline M. Brown is a graduate student at Worcester College, University of Oxford, studying for a Master of Studies in English (1900–present). This article received first prize in the 2022 TORCH Reimagining Performance Network Graduate Essay Prize competition run in collaboration between the University of Oxford and New Theatre Quarterly. For more information on the Reimagining Performance Network, see .
{"title":"Unspoken Indigenous History on the Stage: The Postcolonial Plays of Jack Davis","authors":"Jacqueline M. Brown","doi":"10.1017/S0266464X22000240","DOIUrl":"https://doi.org/10.1017/S0266464X22000240","url":null,"abstract":"Literary scholars and linguists have argued extensively that language is not simply a purely representational vehicle of thought but its determining medium, whose ordering powers not only shape cognizance of reality but are also actively involved in processes of imperialism and cultural erasure. It is the determinative yet slippery quality of language, prompting the loss of meaning in attempts at translation, that colonial powers manipulated to violent effect and which, as enacted in the plays of Nyoongah Indigenous Australian playwright Jack Davis, continue to haunt history and the present. This article considers how a history and culture made unspeakable by colonialism through the erasure of Indigenous Australian oral traditions, languages, and historical perspectives is translated on to the Anglophone stage in the plays of Davis, one of the first Indigenous playwrights to be published and performed internationally, and how this was received by the witnessing audience. Davis achieves this theatrical translation not only through the negotiation and manipulation of colonial language and verbatim history alongside Indigenous languages, enacting a kind of linguistic double consciousness, but also through physical theatre and dance. The latter are the central means of communicating meaning and knowledge in Nyoongah culture. Jacqueline M. Brown is a graduate student at Worcester College, University of Oxford, studying for a Master of Studies in English (1900–present). This article received first prize in the 2022 TORCH Reimagining Performance Network Graduate Essay Prize competition run in collaboration between the University of Oxford and New Theatre Quarterly. For more information on the Reimagining Performance Network, see .","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"38 1","pages":"333 - 345"},"PeriodicalIF":0.1,"publicationDate":"2022-10-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42360494","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/s0266464x22000276
Jeremy Colangelo
This article analyzes the role of pain and torture in the construction and destruction of subjectivity by way of a comparison of the depictions of torture in the theatre of Sarah Kane and Elaine’s Scarry’s highly influential The Body in Pain: On the Making and Unmaking of the World. The essay uses Kane in conjunction with the phenomenology of Emmanuel Levinas, as well as relevant work on the history and sociology of privacy and private speech. Its purpose is to develop an account of what is here called pain’s bi-directional character, or its capacity to represent both the presence and the absence of the victim’s subjectivity, possibly at the same time. Using Kane to expand upon Scarry’s account of the role of subjectivity in torture, we can see how the logic of torture structures numerous relationships in Kane’s work, including Blasted, Phaedra’s Love, Cleansed, and Crave. The essay establishes Kane as not only a major playwright, but also a subtle and perceptive theorist of suffering for whom the question of intersubjectivity is a major site of dramatic struggle. Jeremy Colangelo is the author of Diaphanous Bodies: Ability, Disability, and Modernist Irish Literature (University of Michigan Press, 2021) and the editor of Joyce Writing Disability (University Press of Florida, 2022). His work has appeared in such journals as Modern Fiction Studies, Journal of Modern Literature, Textual Practice, and Modern Drama. He currently teaches at King’s University College, University of Western Ontario.
{"title":"A Private Honesty: Torture and Interiority in the Theatre of Sarah Kane","authors":"Jeremy Colangelo","doi":"10.1017/s0266464x22000276","DOIUrl":"https://doi.org/10.1017/s0266464x22000276","url":null,"abstract":"This article analyzes the role of pain and torture in the construction and destruction of subjectivity by way of a comparison of the depictions of torture in the theatre of Sarah Kane and Elaine’s Scarry’s highly influential <jats:italic>The Body in Pain: On the Making and Unmaking of the World.</jats:italic> The essay uses Kane in conjunction with the phenomenology of Emmanuel Levinas, as well as relevant work on the history and sociology of privacy and private speech. Its purpose is to develop an account of what is here called pain’s bi-directional character, or its capacity to represent both the presence and the absence of the victim’s subjectivity, possibly at the same time. Using Kane to expand upon Scarry’s account of the role of subjectivity in torture, we can see how the logic of torture structures numerous relationships in Kane’s work, including <jats:italic>Blasted</jats:italic>, <jats:italic>Phaedra’s Love</jats:italic>, <jats:italic>Cleansed</jats:italic>, and <jats:italic>Crave.</jats:italic> The essay establishes Kane as not only a major playwright, but also a subtle and perceptive theorist of suffering for whom the question of intersubjectivity is a major site of dramatic struggle. Jeremy Colangelo is the author of <jats:italic>Diaphanous Bodies: Ability, Disability, and Modernist Irish Literature</jats:italic> (University of Michigan Press, 2021) and the editor of <jats:italic>Joyce Writing Disability</jats:italic> (University Press of Florida, 2022). His work has appeared in such journals as <jats:italic>Modern Fiction Studies</jats:italic>, <jats:italic>Journal of Modern Literature</jats:italic>, <jats:italic>Textual Practice</jats:italic>, and <jats:italic>Modern Drama.</jats:italic> He currently teaches at King’s University College, University of Western Ontario.","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"43 5","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-10-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"50167629","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/S0266464X22000306
Anselm Heinrich
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":"Howard Webber\u0000Before the Arts Council: Campaigns for State Funding of the Arts in Britain, 1934–1944 London: Bloomsbury, 2021. 264 p. £85. ISBN: 978-1-3501-6793-3.","authors":"Anselm Heinrich","doi":"10.1017/S0266464X22000306","DOIUrl":"https://doi.org/10.1017/S0266464X22000306","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 - 396"},"PeriodicalIF":0.1,"publicationDate":"2022-10-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49516838","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/S0266464X22000252
C. Diamond
At the 2021 Bangkok International Performing Arts Meeting (BIPAM), Southeast Asian dramatists presented new works that combined personal histories with the overarching political struggles in the region. One presentation, Deleted Scenes in SEA: Ownership Under Censorship, not only took up the issues of censorship and self-censorship but also entangled the distinct cultural identities of three countries – Singapore, Indonesia, and Thailand – by reprising scenes formerly banned in them. The new versions were directed and performed in a language of one of the other countries. Adapting each other’s censored scenes, and re-enacting their similar experiences in countering political repression, required empathetic imagination, and could be a new theatrical platform for creating a sense of regional solidarity. Catherine Diamond is a Professor of Theatre and Environmental Literature at Soochow University, Taiwan. She is the author of Communities of Imagination: Contemporary Southeast Asian Theatres (University of Hawai’i Press, 2012) and the playwright/director of the Kinnari Ecological Theatre Project (KETEP) in Southeast Asia.
{"title":"Empathetic Exchange of Censored Scenes: Southeast Asian Theatre’s Bold Experiment","authors":"C. Diamond","doi":"10.1017/S0266464X22000252","DOIUrl":"https://doi.org/10.1017/S0266464X22000252","url":null,"abstract":"At the 2021 Bangkok International Performing Arts Meeting (BIPAM), Southeast Asian dramatists presented new works that combined personal histories with the overarching political struggles in the region. One presentation, Deleted Scenes in SEA: Ownership Under Censorship, not only took up the issues of censorship and self-censorship but also entangled the distinct cultural identities of three countries – Singapore, Indonesia, and Thailand – by reprising scenes formerly banned in them. The new versions were directed and performed in a language of one of the other countries. Adapting each other’s censored scenes, and re-enacting their similar experiences in countering political repression, required empathetic imagination, and could be a new theatrical platform for creating a sense of regional solidarity. Catherine Diamond is a Professor of Theatre and Environmental Literature at Soochow University, Taiwan. She is the author of Communities of Imagination: Contemporary Southeast Asian Theatres (University of Hawai’i Press, 2012) and the playwright/director of the Kinnari Ecological Theatre Project (KETEP) in Southeast Asia.","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"38 1","pages":"346 - 361"},"PeriodicalIF":0.1,"publicationDate":"2022-10-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43719530","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/S0266464X22000197
M. Wallis
In the interwar period, amateur drama was actively promoted as a means to create or repair, sustain and develop community consciousness in English villages. In this article, Mick Wallis maps such promotion across various fields of practice at their intersection with the village drama ‘movement’ as a field itself. These include gentry patronage, post-war and rural reconstruction, adult education, and women’s self-advancement. He also charts the emergence of interwar village drama from its precursors since 1900, and the emergence from it of the system of local government Drama Advisers that persisted until the 1990s. Time and again, drama is presented as a vital tool in the improvement of the lives of individuals, the development of national citizens, and the restoration and celebration of local communities. Finally, he suggests the important insights that this work can offer future researchers. Mick Wallis is Professor Emeritus of Performance and Culture at the University of Leeds.
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Pub Date : 2022-07-19DOI: 10.1017/S0266464X22000203
Arkaprava Chattopadhyay
This article explores the role of the traditional Pang Lhabsol festival of Sikkim in India as a medium for political ascendancy and influence in the region – a phenomenon that has continued, albeit with different political inflections, from its founding days until the present. Since its emergence as an indigenous practice in the thirteenth century, it has consistently transformed according to each juncture of political realignment in the region. After 1642, the festival was redesigned to resonate with the religion and ideology of the ruling Namgyal dynasty, playing out negotiations between mainstream Buddhism and the animistic Bon religion. While the inclusion of the Pangtoed Chham dance performance in the ritualistic itinerary of Pang Lhabsol had very significantly reinforced the role of the king as the protector of the people and their faith, the festival has been considerably overshadowed by the inclusion of new elements that resonate with the secular narrative of India after 1975. The article identifies the significance of each of these new elements, drawing as well on audience research undertaken through in-depth interviews. Arkaprava Chattopadhyay is an Assistant Professor at the Shri Ramasamy Memorial University in Sikkim, as well as a doctoral candidate at the Central University of Sikkim.
{"title":"Traditional Rituals as Conduits for Political Ascendancy: The Pang Lhabsol Festival of Sikkim, India","authors":"Arkaprava Chattopadhyay","doi":"10.1017/S0266464X22000203","DOIUrl":"https://doi.org/10.1017/S0266464X22000203","url":null,"abstract":"This article explores the role of the traditional Pang Lhabsol festival of Sikkim in India as a medium for political ascendancy and influence in the region – a phenomenon that has continued, albeit with different political inflections, from its founding days until the present. Since its emergence as an indigenous practice in the thirteenth century, it has consistently transformed according to each juncture of political realignment in the region. After 1642, the festival was redesigned to resonate with the religion and ideology of the ruling Namgyal dynasty, playing out negotiations between mainstream Buddhism and the animistic Bon religion. While the inclusion of the Pangtoed Chham dance performance in the ritualistic itinerary of Pang Lhabsol had very significantly reinforced the role of the king as the protector of the people and their faith, the festival has been considerably overshadowed by the inclusion of new elements that resonate with the secular narrative of India after 1975. The article identifies the significance of each of these new elements, drawing as well on audience research undertaken through in-depth interviews. Arkaprava Chattopadhyay is an Assistant Professor at the Shri Ramasamy Memorial University in Sikkim, as well as a doctoral candidate at the Central University of Sikkim.","PeriodicalId":43990,"journal":{"name":"NEW THEATRE QUARTERLY","volume":"38 1","pages":"283 - 297"},"PeriodicalIF":0.1,"publicationDate":"2022-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42428457","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/S0266464X2200015X
S. Melnikova
This article explores the history of the German theatre in St Petersburg in the eighteenth and nineteenth centuries, a subject forgotten for a hundred years due to historical reasons. Svetlana Melnikova uses cross-cultural research methods, which, as she has discovered, appeared in Russian criticism concerning the arts as early as the nineteenth century. The ideas of Russian scholars turned out to be concordant with modern findings in cross-cultural dialogue and comparative research methods, because the process of establishing Russian culture was influenced by earlier cultures in a variety of ways. The German diaspora in the capital of the Russian Empire at the turn of the nineteenth century, and the artistic qualities of the German theatre (the activities of its managers, the company, the repertoire, theatre buildings, as well as the target audience) described in this article, are here presented as the expressive elements of intercultural communication that provide theatre history with a sense of actuality. The author introduces unique archive materials from the Russian State Historical Archive, as well as from publications preserved in Russia-focused departments of major Russian and German libraries. Examining these materials, she reconstructs the history of this rare phenomenon in the context of the mutual influence between German and Russian theatres. Svetlana Melnikova is Professor of Art at the St Petersburg State University of Film and Television. She is the author of six books, including Kotzebue in Russia (2005), and ninety-six articles on the history, theory, and practice of theatre in Russian and German.
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