Drawing on Indigenous feminist theories of futurity and care, interviews with Indigenous theatre artists, and a case study on decolonial acts of relational care refused, this article explores how carework in theatre production contracts reveals the labor of Indigenous artists to sustain and expand their communities. It explores the informal challenges Larissa FastHorse issues to producing companies, the contract riders about casting and consultation used by Mary Kathryn Nagle, an accountability rider Madeline Sayet created for the national tour of her solo show, and the conflict between Emily Johnson and her one-time commissioning organization Peak Performances.
{"title":"Remapping Relations: Contract Riders, Care, and Indigenous Performance","authors":"Bethany Hughes","doi":"10.1353/tj.2024.a950294","DOIUrl":"https://doi.org/10.1353/tj.2024.a950294","url":null,"abstract":"<p><p>Abstract:</p><p>Drawing on Indigenous feminist theories of futurity and care, interviews with Indigenous theatre artists, and a case study on decolonial acts of relational care refused, this article explores how carework in theatre production contracts reveals the labor of Indigenous artists to sustain and expand their communities. It explores the informal challenges Larissa FastHorse issues to producing companies, the contract riders about casting and consultation used by Mary Kathryn Nagle, an accountability rider Madeline Sayet created for the national tour of her solo show, and the conflict between Emily Johnson and her one-time commissioning organization Peak Performances.</p></p>","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"22 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2025-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143054800","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}
This article examines the peace advocacy of Women Cross DMZ, a Korean diasporicled collective of feminist activists who are calling for a formal end to the Korean War and the centering of women in peacebuilding processes. During peace symposia in North Korea and South Korea and walks in 2015, Women Cross DMZ utilized objects—scarves, banners, and quilts—inspired by jogakbo, a Korean patchwork-style cloth that originated during the Joseon Dynasty (1392-1910). As technologies of care, jogakbo cloth objects serve as a means through which people practice care and embody ideals for peace. Looking at the multiple crossings of Women Cross DMZ through jogakbo as an object and process attunes us to the temporal and scalar aspects of varied practices of peace advocacy.
{"title":"\"Stitching Korea Back Together\": Jogakbo Aesthetics of Care in Peace Advocacy","authors":"Elizabeth W. Son","doi":"10.1353/tj.2024.a950298","DOIUrl":"https://doi.org/10.1353/tj.2024.a950298","url":null,"abstract":"<p><p>Abstract:</p><p>This article examines the peace advocacy of Women Cross DMZ, a Korean diasporicled collective of feminist activists who are calling for a formal end to the Korean War and the centering of women in peacebuilding processes. During peace symposia in North Korea and South Korea and walks in 2015, Women Cross DMZ utilized objects—scarves, banners, and quilts—inspired by <i>jogakbo</i>, a Korean patchwork-style cloth that originated during the Joseon Dynasty (1392-1910). As technologies of care, jogakbo cloth objects serve as a means through which people practice care and embody ideals for peace. Looking at the multiple crossings of Women Cross DMZ through jogakbo as an object and process attunes us to the temporal and scalar aspects of varied practices of peace advocacy.</p></p>","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"45 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2025-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143054813","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}
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p><span>Reviewed by:</span> <ul> <li> <!-- html_title --> <em>How To Defend Yourself</em>by Liliana Padilla <!-- /html_title --> </li> <li> Dan Venning </li> </ul> <em>HOW TO DEFEND YOURSELF</em>. By Liliana Padilla. Codirected by Rachel Chavkin, Liliana Padilla, and Steph Paul. New York Theatre Workshop, New York. 03 <day>21</day>, 2023. <p>Sexual assault continues to plague college campuses despite the #MeToo movement, consent workshops, and protective measures put in place by college administrations, friend groups, and individual students. The Association of American Universities' statistic from their 2020 <em>Report on the AAU Campus Climate Survey on Sexual Assault and Sexual Misconduct</em>—that 26.4% of undergraduate women surveyed at twenty-one schools in the United States had experienced some form of nonconsensual sexual contact—seems to ring true still. It is a rare year when I don't need to make at least one mandated report to my college's Title IX Officer after learning about a student's traumatic experiences. So when I saw Liliana Padilla's <em>How to Defend Yourself</em>at New York Theatre Workshop in March 2023, I immediately knew that I would have to teach the play in my Contemporary American Theatre and Drama <strong>[End Page 564]</strong>course in the upcoming trimester—and that this was a play that should be taught and staged at colleges and universities across the US. Indeed, reading Padilla's text and describing the action as I had seen it just a few months earlier led one student to travel to New York to see the production before it closed and several others to write about the various ways it resonated with them personally. One student wrote: "This is a play I didn't know the theatre community needed until I read it myself. … I believe this play will make a difference in many students' lives[.] I know if I had found it a few years ago it would have made a difference in mine."</p> <p>Padilla's play takes place in the wake of a violent sexual assault on a small predominantly white liberal arts college campus with an active fraternity and sorority social culture. (The playwright is specific about the racial identity of each character in her script, so these are noted here as well.) The perpetrators of the assault—students in a fraternity—have been arrested and do not appear in the play, and the victim Susannah is in the hospital. The entire play takes place in a gym where Brandi, the victim's white "big" (an already initiated sister who serves as a mentor to a younger sister) in a sorority, is leading a self-defense workshop along with Kara, a BIPOC sorority sister who is Susannah's best friend and their sorority's social chair. They are supported by Andy, a white member of the fraternity who is "earnestly eager to end rape culture and unpack the man box," and Eggo, one of only a few BIPOC members of the fraternity, who uses humor to hid
{"title":"How To Defend Yourself by Liliana Padilla (review)","authors":"Dan Venning","doi":"10.1353/tj.2024.a950306","DOIUrl":"https://doi.org/10.1353/tj.2024.a950306","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p><span>Reviewed by:</span> <ul> <li> <!-- html_title --> <em>How To Defend Yourself</em>by Liliana Padilla <!-- /html_title --> </li> <li> Dan Venning </li> </ul> <em>HOW TO DEFEND YOURSELF</em>. By Liliana Padilla. Codirected by Rachel Chavkin, Liliana Padilla, and Steph Paul. New York Theatre Workshop, New York. 03 <day>21</day>, 2023. <p>Sexual assault continues to plague college campuses despite the #MeToo movement, consent workshops, and protective measures put in place by college administrations, friend groups, and individual students. The Association of American Universities' statistic from their 2020 <em>Report on the AAU Campus Climate Survey on Sexual Assault and Sexual Misconduct</em>—that 26.4% of undergraduate women surveyed at twenty-one schools in the United States had experienced some form of nonconsensual sexual contact—seems to ring true still. It is a rare year when I don't need to make at least one mandated report to my college's Title IX Officer after learning about a student's traumatic experiences. So when I saw Liliana Padilla's <em>How to Defend Yourself</em>at New York Theatre Workshop in March 2023, I immediately knew that I would have to teach the play in my Contemporary American Theatre and Drama <strong>[End Page 564]</strong>course in the upcoming trimester—and that this was a play that should be taught and staged at colleges and universities across the US. Indeed, reading Padilla's text and describing the action as I had seen it just a few months earlier led one student to travel to New York to see the production before it closed and several others to write about the various ways it resonated with them personally. One student wrote: \"This is a play I didn't know the theatre community needed until I read it myself. … I believe this play will make a difference in many students' lives[.] I know if I had found it a few years ago it would have made a difference in mine.\"</p> <p>Padilla's play takes place in the wake of a violent sexual assault on a small predominantly white liberal arts college campus with an active fraternity and sorority social culture. (The playwright is specific about the racial identity of each character in her script, so these are noted here as well.) The perpetrators of the assault—students in a fraternity—have been arrested and do not appear in the play, and the victim Susannah is in the hospital. The entire play takes place in a gym where Brandi, the victim's white \"big\" (an already initiated sister who serves as a mentor to a younger sister) in a sorority, is leading a self-defense workshop along with Kara, a BIPOC sorority sister who is Susannah's best friend and their sorority's social chair. They are supported by Andy, a white member of the fraternity who is \"earnestly eager to end rape culture and unpack the man box,\" and Eggo, one of only a few BIPOC members of the fraternity, who uses humor to hid","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"22 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2025-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143054814","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}
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Fixing The Musical: How Technologies Shaped The Broadway Repertory</em> by Douglas L. Reside <!-- /html_title --></li> <li> Bradley Rogers </li> </ul> <em>FIXING THE MUSICAL: HOW TECHNOLOGIES SHAPED THE BROADWAY REPERTORY</em>. By Douglas L. Reside. New York: Oxford University Press, 2023; pp. 165. <p>Douglas L. Reside's <em>Fixing the Musical: How Technologies Shaped the Broadway Repertory</em> explores the technologies—printed, photographic, audiovisual, and digital among them—that have "fixed" the Broadway musical and thus influenced or enabled its circulation and reception. In Reside's terms, "fixing" refers to the process whereby an element of a theatrical property is fixed by another medium, with the fixed element becoming a meaningful part of the musical's ongoing identity or life. For example, he writes that his second chapter "will explore how the technologies used to create promotional imagery for musicals fixed audience expectations of the visual elements of titles in the musical repertory" (35). In studying fixing, then, Reside shows the complex ways that musical theatre—individual titles as well as the genre more generally—is inextricably tied to technologies of all sorts.</p> <p><em>Fixing the Musical</em> explores an unbelievably wide range of intriguing topics. When Reside explains the process (and company) behind the iconic Studio Duplicating Service scripts—identifiable by their faux leather covers with titles embossed in gold—he uncovers the surprisingly fascinating story behind a ubiquitous element of Broadway that virtually every scholar will have encountered. He does this in case after case, revealing unexpected insights on topics as wide-ranging as the role of Linotype printing in making it commercially viable for libretti to be printed in short runs; the genesis of the mail-order Fireside Theatre Club; the emergence of souvenir companion books; the processes of producing and distributing early video recordings of stage musicals; the histories of major licensing companies; and the mechanics of Diazo music printing technology—among many others.</p> <p>While the study is arranged as a series of chapters, each focusing on a different medium, Reside's book persuasively demonstrates a broader set of overarching ideas about the relationships between technology and the musical. A central insight is that as technologies fix more elements of a production, artists in subsequent productions can have a more limited range of choices to make. He details, for example, how licensors have increasingly offered a range of supplementary materials for amateur productions: projection designs, recordings of music for rehearsals, orchestral accompaniments for performances, choreographic guides, and so forth. Reside notes that "[a]s new technologies begin to make other elements of the musical more
{"title":"Fixing The Musical: How Technologies Shaped The Broadway Repertory by Douglas L. Reside (review)","authors":"Bradley Rogers","doi":"10.1353/tj.2024.a950318","DOIUrl":"https://doi.org/10.1353/tj.2024.a950318","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Fixing The Musical: How Technologies Shaped The Broadway Repertory</em> by Douglas L. Reside <!-- /html_title --></li> <li> Bradley Rogers </li> </ul> <em>FIXING THE MUSICAL: HOW TECHNOLOGIES SHAPED THE BROADWAY REPERTORY</em>. By Douglas L. Reside. New York: Oxford University Press, 2023; pp. 165. <p>Douglas L. Reside's <em>Fixing the Musical: How Technologies Shaped the Broadway Repertory</em> explores the technologies—printed, photographic, audiovisual, and digital among them—that have \"fixed\" the Broadway musical and thus influenced or enabled its circulation and reception. In Reside's terms, \"fixing\" refers to the process whereby an element of a theatrical property is fixed by another medium, with the fixed element becoming a meaningful part of the musical's ongoing identity or life. For example, he writes that his second chapter \"will explore how the technologies used to create promotional imagery for musicals fixed audience expectations of the visual elements of titles in the musical repertory\" (35). In studying fixing, then, Reside shows the complex ways that musical theatre—individual titles as well as the genre more generally—is inextricably tied to technologies of all sorts.</p> <p><em>Fixing the Musical</em> explores an unbelievably wide range of intriguing topics. When Reside explains the process (and company) behind the iconic Studio Duplicating Service scripts—identifiable by their faux leather covers with titles embossed in gold—he uncovers the surprisingly fascinating story behind a ubiquitous element of Broadway that virtually every scholar will have encountered. He does this in case after case, revealing unexpected insights on topics as wide-ranging as the role of Linotype printing in making it commercially viable for libretti to be printed in short runs; the genesis of the mail-order Fireside Theatre Club; the emergence of souvenir companion books; the processes of producing and distributing early video recordings of stage musicals; the histories of major licensing companies; and the mechanics of Diazo music printing technology—among many others.</p> <p>While the study is arranged as a series of chapters, each focusing on a different medium, Reside's book persuasively demonstrates a broader set of overarching ideas about the relationships between technology and the musical. A central insight is that as technologies fix more elements of a production, artists in subsequent productions can have a more limited range of choices to make. He details, for example, how licensors have increasingly offered a range of supplementary materials for amateur productions: projection designs, recordings of music for rehearsals, orchestral accompaniments for performances, choreographic guides, and so forth. Reside notes that \"[a]s new technologies begin to make other elements of the musical more ","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"22 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2025-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143054821","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}
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Choreographing Dirt: Movement, Performance, And Ecology In The Anthropocene</em> by Angenette Spalink <!-- /html_title --></li> <li> Diana Looser </li> </ul> <em>CHOREOGRAPHING DIRT: MOVEMENT, PERFORMANCE, AND ECOLOGY IN THE ANTHROPOCENE</em>. By Angenette Spalink. Studies in Theatre, Ecology, and Performance, no. 3. London: Routledge, 2024; pp. 104. <p>In her original and engaging monograph, <em>Choreographing Dirt: Movement, Performance, and Ecology in the Anthropocene</em>, Angenette Spalink attunes us to the importance of dirt in artistic performance, highlighting our profound entwinement with such matter and the broader social and ecological significance of these interrelationships. For Spalink, "dirt" refers to earthly material such as soil, peat, and fungi that has been removed from its original grounded context and has been culturally reshaped within the framework of performance, where it functions as a vital and agential co-performer along with human actors and dancers. Spalink undergirds her analysis of choreographic dirt with two key concepts. The first is her compound neologism <em>biogeocultography</em>, which denotes "the structured movement of ecological matter through geographic, biological, and cultural spaces" (2) and the meanings such movements create. The second concept, <em>performative taphonomy</em> (derived from the processes whereby material remains decompose and become part of the environment), expresses the notion that "the presence of exhumed ecological matter on page and stage—e.g., dirt—'does' something" (16). By exploring the many ways in which humans and dirt affect one another, Spalink encourages a more nuanced apprehension of our material entanglement with more-than-human worlds and reveals how dance and performance can provide a productive arena for thinking through the complex problems of the Anthropocene.</p> <p><em>Choreographing Dirt</em> brings together a diverse array of late twentieth-century and early twenty-first-century works from North and Central America and Europe: Suzan-Lori Parks's <em>The America Play</em> (1994), Pina Bausch's <em>The Rite of Spring</em> (1975), Eveoke Dance Theatre's <em>Las Mariposas</em> (2010), and Iván-Daniel Espinosa's <em>Messengers Divinos</em> (2018). The author presents a series of absorbing and richly contextualized close readings buttressed by Indigenous and non-Indigenous critical perspectives. She shows how these performances engage dirt as a vital choreographic element to address environmental racism, extractive capitalism, the interplay of human and more-than-human bodies, and an eco-ethics of care.</p> <p>Chapter 1 takes up the trope of digging and disinterment as a mode of African American revisionist historiography in <em>The America Play</em>, extending it to a taphonomical reading by focusing on the Foundlin
{"title":"Choreographing Dirt: Movement, Performance, And Ecology In The Anthropocene by Angenette Spalink (review)","authors":"Diana Looser","doi":"10.1353/tj.2024.a950321","DOIUrl":"https://doi.org/10.1353/tj.2024.a950321","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Choreographing Dirt: Movement, Performance, And Ecology In The Anthropocene</em> by Angenette Spalink <!-- /html_title --></li> <li> Diana Looser </li> </ul> <em>CHOREOGRAPHING DIRT: MOVEMENT, PERFORMANCE, AND ECOLOGY IN THE ANTHROPOCENE</em>. By Angenette Spalink. Studies in Theatre, Ecology, and Performance, no. 3. London: Routledge, 2024; pp. 104. <p>In her original and engaging monograph, <em>Choreographing Dirt: Movement, Performance, and Ecology in the Anthropocene</em>, Angenette Spalink attunes us to the importance of dirt in artistic performance, highlighting our profound entwinement with such matter and the broader social and ecological significance of these interrelationships. For Spalink, \"dirt\" refers to earthly material such as soil, peat, and fungi that has been removed from its original grounded context and has been culturally reshaped within the framework of performance, where it functions as a vital and agential co-performer along with human actors and dancers. Spalink undergirds her analysis of choreographic dirt with two key concepts. The first is her compound neologism <em>biogeocultography</em>, which denotes \"the structured movement of ecological matter through geographic, biological, and cultural spaces\" (2) and the meanings such movements create. The second concept, <em>performative taphonomy</em> (derived from the processes whereby material remains decompose and become part of the environment), expresses the notion that \"the presence of exhumed ecological matter on page and stage—e.g., dirt—'does' something\" (16). By exploring the many ways in which humans and dirt affect one another, Spalink encourages a more nuanced apprehension of our material entanglement with more-than-human worlds and reveals how dance and performance can provide a productive arena for thinking through the complex problems of the Anthropocene.</p> <p><em>Choreographing Dirt</em> brings together a diverse array of late twentieth-century and early twenty-first-century works from North and Central America and Europe: Suzan-Lori Parks's <em>The America Play</em> (1994), Pina Bausch's <em>The Rite of Spring</em> (1975), Eveoke Dance Theatre's <em>Las Mariposas</em> (2010), and Iván-Daniel Espinosa's <em>Messengers Divinos</em> (2018). The author presents a series of absorbing and richly contextualized close readings buttressed by Indigenous and non-Indigenous critical perspectives. She shows how these performances engage dirt as a vital choreographic element to address environmental racism, extractive capitalism, the interplay of human and more-than-human bodies, and an eco-ethics of care.</p> <p>Chapter 1 takes up the trope of digging and disinterment as a mode of African American revisionist historiography in <em>The America Play</em>, extending it to a taphonomical reading by focusing on the Foundlin","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"26 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2025-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143054822","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}
In lieu of an abstract, here is a brief excerpt of the content:
Editorial Comment:Performing Minoritarian Care
Laura Edmondson
I want to think "care" as a problem for thought.
—Christina Sharpe1
The front cover of this special issue on Care, Carework, and Performance features an image from Sung-Min Kim's article on Operation Babylift (1975), a US mission in which over three thousand Vietnamese children were airlifted to the US for adoption during the final weeks of the Vietnam War. In her analysis of this traumatic evacuation, during which the children experienced a social death to facilitate their rebirth as US citizens, Kim coins the phrase "militarized care" to theorize gestures of care within a necropolitical order of US military destruction. The Vietnamese children nestle into mattresses and blankets while the unsmiling white-presenting adult male watches over them as a surrogate of US imperialism and counterinsurgency destruction. This image serves as a powerful reminder of the "noninnocence" of care, the labor of which is easily appropriated to buttress and carewash the work of violent regimes.2
The authors in this issue are clear-eyed regarding the threats posed by these regimes as they analyze how performance navigates and confronts white supremacy, neoliberalism and gentrification, authoritarian states, imperialism, and land theft. And yet their work also demonstrates a profound faith in care as a means to counteract these multifaceted forms of violence and harm, not as palliative but as worlding à la Donna Haraway.3 Through acts of critical imagination grounded in archival and ethnographic research, they locate and theorize worlds limned with the aesthetics and politics of care. They also share a fierce investment in performance as a means of articulating these worlds. As just one example, to return to the image on the front cover, Kim finds promise through the children's sensuous gesture of leaning against the plane and looking out the window, suggesting that the glimpse of the sky allows them to [End Page ix] find "respite between the demanding bounds of departure and arrival." Even within the confines of a US militarized plane, radical care percolates and endures as "a set of vital but underappreciated strategies for enduring precarious worlds," to quote Hi'ilei Julia Kawehipuaakahaopulani Hobart (Kānaka Maoli) and Tamara Kneese.4
Significantly, these worlds are minoritarian worlds and thus they offer interventions and strategies that are honed through activism, ancestral knowledge, and aesthetic boldness. In my original call for papers, I asked, "How to center the radical potential of care while also critiquing its capacities for academic extraction from Black feminist thought, Indigenous studies, disability
这里是内容的一个简短摘录，而不是摘要：编辑评论：执行少数民族关怀劳拉埃德蒙森我想把“关怀”看作是一个思考的问题。-Christina Sharpe1本期《关怀、照顾和表现》特刊的封面上，刊登了金成民关于“救婴行动”（1975年）的文章中的一张图片。在越战的最后几周，美国将三千多名越南儿童空运到美国供人收养。在她对这次创伤性撤离的分析中，在此期间，孩子们经历了社会死亡，以促进他们作为美国公民的重生，Kim创造了“军事化护理”这个短语，将美国军事破坏的死亡政治秩序中的护理姿态理论化。越南的孩子们依偎在床垫和毯子里，而冷漠的白人成年男子看着他们，作为美帝国主义和反叛乱破坏的代理人。这张照片有力地提醒人们，护理是“非无辜的”，这种劳动很容易被用来支持和清洗暴力政权的工作本期的作者们对这些政权所带来的威胁有着清晰的认识，他们分析了表演如何驾驭和面对白人至上主义、新自由主义和士绅化、威权国家、帝国主义和土地盗窃。然而，他们的工作也表明了一种深刻的信念，即把关怀作为一种手段来对抗这些多方面的暴力和伤害，而不是作为一种缓和手段，而是作为一种世界性的手段（唐娜·哈拉威）。3通过基于档案和民族志研究的批判性想象行为，他们定位并理论化了关怀的美学和政治所界定的世界。他们还在表演上投入了大量资金，作为表达这些世界的一种手段。举个例子，回到封面上的图片，Kim通过孩子们靠在飞机上向窗外看的感官姿势找到了希望，这表明对天空的一瞥让他们找到了“在出发和到达的界限之间的喘息”。引用Hi'ilei Julia Kawehipuaakahaopulani Hobart （Kānaka Maoli）和Tamara kneese的话说，即使在美国军事飞机的范围内，激进关怀也渗透并延续为“一套至关重要但未被重视的策略，以维持不稳定的世界”。4重要的是，这些世界是少数民族的世界，因此它们提供的干预和策略是通过激进主义、祖传知识和审美大胆来磨光的。在我最初的论文征集中，我问道：“如何将关怀的激进潜力集中起来，同时又批评它从黑人女权主义思想、土著研究、残疾研究和酷儿理论中提取学术精华的能力？”这个问题引起了我的担忧，即像我这样的白人移民学者会把关怀的话语作为一种手段，挪用经过几十年理论、艺术和行动主义磨练的激进思想形式。如果我们跟随克里斯蒂娜·夏普的领导，“把‘关怀’看作一个需要思考的问题”，我们还必须注意谁来做（并被引用）思考。然而，最终，我的担心是没有根据的，因为这些文章共同对护理伦理的地方性白化提出了持续的挑战他们坚持激进关怀和少数关怀是相互构成的。乌纳·乔杜里观察到，关怀是一种知识形式，可以帮助确保我们在这个日益脆弱的星球上共同生存在这种情况下，尽管我们的领域在护理研究中缺乏代表性，但这个问题包含了丰富的知识，值得广泛听取。琼·c·特伦托（Joan C. Tronto）与贝蕾妮丝·费雪（Berenice Fisher）共同提出了一个被广泛引用的关怀定义：“一种物种活动，包括我们为维持、延续和修复我们的‘世界’而做的一切，以便我们能够尽可能地生活在其中。”她断然将艺术创作排除在这个宽泛的定义之外María Puig de la Bellacasa，他的护理分类为“劳动/工作，影响/情感，伦理/政治”，也有广泛的影响力，触及了表演和具体化的问题，但没有持续的参与最近，霍巴特和克内斯2020年关于激进护理的社会文本特刊，一系列广泛的文章，将2016年美国总统大选后护理研究的爆炸式增长历史化并深化，确实……
{"title":"Editorial Comment: Performing Minoritarian Care","authors":"Laura Edmondson","doi":"10.1353/tj.2024.a950291","DOIUrl":"https://doi.org/10.1353/tj.2024.a950291","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <ul> <li><!-- html_title --> Editorial Comment:<span>Performing Minoritarian Care</span> <!-- /html_title --></li> <li> Laura Edmondson </li> </ul> <blockquote> <p>I want to think \"care\" as a problem for thought.</p> —Christina Sharpe<sup>1</sup> </blockquote> <p>The front cover of this special issue on Care, Carework, and Performance features an image from Sung-Min Kim's article on Operation Babylift (1975), a US mission in which over three thousand Vietnamese children were airlifted to the US for adoption during the final weeks of the Vietnam War. In her analysis of this traumatic evacuation, during which the children experienced a social death to facilitate their rebirth as US citizens, Kim coins the phrase \"militarized care\" to theorize gestures of care within a necropolitical order of US military destruction. The Vietnamese children nestle into mattresses and blankets while the unsmiling white-presenting adult male watches over them as a surrogate of US imperialism and counterinsurgency destruction. This image serves as a powerful reminder of the \"noninnocence\" of care, the labor of which is easily appropriated to buttress and carewash the work of violent regimes.<sup>2</sup></p> <p>The authors in this issue are clear-eyed regarding the threats posed by these regimes as they analyze how performance navigates and confronts white supremacy, neoliberalism and gentrification, authoritarian states, imperialism, and land theft. And yet their work also demonstrates a profound faith in care as a means to counteract these multifaceted forms of violence and harm, not as palliative but as worlding à la Donna Haraway.<sup>3</sup> Through acts of critical imagination grounded in archival and ethnographic research, they locate and theorize worlds limned with the aesthetics and politics of care. They also share a fierce investment in performance as a means of articulating these worlds. As just one example, to return to the image on the front cover, Kim finds promise through the children's sensuous gesture of leaning against the plane and looking out the window, suggesting that the glimpse of the sky allows them to <strong>[End Page ix]</strong> find \"respite between the demanding bounds of departure and arrival.\" Even within the confines of a US militarized plane, radical care percolates and endures as \"a set of vital but underappreciated strategies for enduring precarious worlds,\" to quote Hi'ilei Julia Kawehipuaakahaopulani Hobart (Kānaka Maoli) and Tamara Kneese.<sup>4</sup></p> <p>Significantly, these worlds are minoritarian worlds and thus they offer interventions and strategies that are honed through activism, ancestral knowledge, and aesthetic boldness. In my original call for papers, I asked, \"How to center the radical potential of care while also critiquing its capacities for academic extraction from Black feminist thought, Indigenous studies, disability ","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"817 1","pages":"ix-xviii"},"PeriodicalIF":0.5,"publicationDate":"2025-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144797578","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}
This essay tends to the continued lives and potential futures of Operation Babylift refugees as subjects born from "militarized care,' a framework that resists the binary between violence and care to instead denote the affective and sensorial manifestation of both violence and care. By pairing Heidi Bub's story of reunion in the documentary Daughter from Danang with a reparative reading of Operation Babylift photographs, this essay suggests that tire Babylift refugees' gesture of looking out tire airplane window leans into vulnerability and uprootedness in order to dream of alternative futures "up there" and "out there" in the sky.
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In lieu of an abstract, here is a brief excerpt of the content:
Reviewed by:
Hamlet's Hereditary Queen: Performing Shakespeare's Silent Female Power by Kerrie Roberts, and: Performing Restoration Shakespeare ed. by Amanda Eubanks Winkler
Hugh K. Long
HAMLET'S HEREDITARY QUEEN: PERFORMING SHAKESPEARE'S SILENT FEMALE POWER. By Kerrie Roberts. Routledge Advances in Theatre & Performance Studies Series. Oxon, UK: Routledge, 2023; pp. 210. PERFORMING RESTORATION SHAKESPEARE. Edited by Amanda Eubanks Winkler, Claude Fretz, and Richard Schoch. Cambridge: Cambridge University Press, 2023; pp. 220.
Recently, Shakespearean scholarship has embraced performance-based research approaches, which have invigorated academic inquiry into the physical, spatial, and collaborative elements of live theatrical events. This understanding of Shakespeare's works not as purely literary texts, but instead as pretexts toward performance, has afforded scholar-practitioners greater opportunities to contribute to scholarly writing. Two recent contributions to this field, Hamlet's Hereditary Queen by Kerrie Roberts and Performing Restoration Shakespeare, edited by Amanda Eubanks Winkler, Claude Fretz, and Richard Schoch, each provide compelling templates for engaging with Shakespeare's work as a living, breathing performance tradition rather than as static dramatic literature. Through their respective lenses, these books invite a reconsideration of how we study, stage, and experience Shakespeare, pushing the boundaries of what performance-based, or practice-based, research can achieve.
In Hamlet's Hereditary Queen, Kerrie Roberts presents a refreshing scholarly approach, combining feminist theory and her subjective acting experience to explore one of Shakespeare's often overlooked female characters, Queen Gertrude from The Tragedy of Hamlet. In her chapter "Not Representing Gertrude," Roberts notes, "While Hamlet himself has been played white, black, straight, gay, male, and female, in my experience, most productions of the play still barely nod to Gertrude's existence, let alone address her as heroine of her own narrative" (17). Roberts shares with readers how her curiosity about Hamlet's Gertrude began after she was cast to play the role in several scenes for film students in Canberra, Australia, in 2007. She admitted to having a difficult time embracing the character, primarily because of assumptions made by directors, and conversely herself: that Gertrude was merely a minor character defined only by her new marriage to her former brother-in-law, Claudius, or in her relationship to her son, Hamlet. This latter relationship is often depicted as either a sexualized one or one marked by an understanding that her son is an insane murderer. Roberts expresses how [End
{"title":"Hamlet's Hereditary Queen: Performing Shakespeare's Silent Female Power by Kerrie Roberts, and: Performing Restoration Shakespeare ed. by Amanda Eubanks Winkler (review)","authors":"Hugh K. Long","doi":"10.1353/tj.2024.a950319","DOIUrl":"https://doi.org/10.1353/tj.2024.a950319","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Hamlet's Hereditary Queen: Performing Shakespeare's Silent Female Power</em> by Kerrie Roberts, and: <em>Performing Restoration Shakespeare</em> ed. by Amanda Eubanks Winkler <!-- /html_title --></li> <li> Hugh K. Long </li> </ul> <em>HAMLET'S HEREDITARY QUEEN: PERFORMING SHAKESPEARE'S SILENT FEMALE POWER</em>. By Kerrie Roberts. Routledge Advances in Theatre & Performance Studies Series. Oxon, UK: Routledge, 2023; pp. 210. <em>PERFORMING RESTORATION SHAKESPEARE</em>. Edited by Amanda Eubanks Winkler, Claude Fretz, and Richard Schoch. Cambridge: Cambridge University Press, 2023; pp. 220. <p>Recently, Shakespearean scholarship has embraced performance-based research approaches, which have invigorated academic inquiry into the physical, spatial, and collaborative elements of live theatrical events. This understanding of Shakespeare's works not as purely literary texts, but instead as pretexts toward performance, has afforded scholar-practitioners greater opportunities to contribute to scholarly writing. Two recent contributions to this field, <em>Hamlet's Hereditary Queen</em> by Kerrie Roberts and <em>Performing Restoration Shakespeare</em>, edited by Amanda Eubanks Winkler, Claude Fretz, and Richard Schoch, each provide compelling templates for engaging with Shakespeare's work as a living, breathing performance tradition rather than as static dramatic literature. Through their respective lenses, these books invite a reconsideration of how we study, stage, and experience Shakespeare, pushing the boundaries of what performance-based, or practice-based, research can achieve.</p> <p><em>In Hamlet's Hereditary Queen</em>, Kerrie Roberts presents a refreshing scholarly approach, combining feminist theory and her subjective acting experience to explore one of Shakespeare's often overlooked female characters, Queen Gertrude from <em>The Tragedy of Hamlet</em>. In her chapter \"Not Representing Gertrude,\" Roberts notes, \"While Hamlet himself has been played white, black, straight, gay, male, and female, in my experience, most productions of the play still barely nod to Gertrude's existence, let alone address her as heroine of her own narrative\" (17). Roberts shares with readers how her curiosity about <em>Hamlet's</em> Gertrude began after she was cast to play the role in several scenes for film students in Canberra, Australia, in 2007. She admitted to having a difficult time embracing the character, primarily because of assumptions made by directors, and conversely herself: that Gertrude was merely a minor character defined only by her new marriage to her former brother-in-law, Claudius, or in her relationship to her son, Hamlet. This latter relationship is often depicted as either a sexualized one or one marked by an understanding that her son is an insane murderer. Roberts expresses how <strong>[End","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"206 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2025-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143054820","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}
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Broadway Goes To War: American Theater During World War II</em> by Robert L. McLaughlin and Sally E. Parry <!-- /html_title --></li> <li> Fonzie D. Geary II </li> </ul> <em>BROADWAY GOES TO WAR: AMERICAN THEATER DURING WORLD WAR II</em>. By Robert L. McLaughlin and Sally E. Parry. Lexington: University Press of Kentucky, 2021; pp. x, 290. <p>In <em>Broadway Goes to War</em>, Robert L. McLaughlin and Sally E. Parry immerse readers in an oft-neglected era of US American drama. Despite the subtitle's indication that the book focuses on the war years, the text actually covers a somewhat broader period, extending from 1933 to 1946. From a playwriting perspective, this era is often dismissed as an artistic desert, caught between the fertile periods of Eugene O'Neill's ascendance in the 1920s and the emergence of Tennessee Williams and Arthur Miller in the late 1940s. Albert Wertheim's <em>Staging the War: American Drama and World War II</em> (2004) represents one of the more recent efforts to reckon with the proliferation of drama in the US during the 1940s. But overall, there is a paucity of scholarship related to this era. In this regard, McLaughlin and Parry's book represents <strong>[End Page 585]</strong> a welcome addition in extending our understanding of twentieth-century US American drama.</p> <p>McLaughlin and Parry state two primary goals for their study: to understand "the role theater had in the popular-culture representation of the Second World War/" and to explore "how the theater functioned differently from other popular-culture media" (3). With these goals in mind, the authors position commercial theatre (defined strictly as Broadway) as unique in its dissemination of popular culture. Other mediums such as film, radio, and newspapers were often limited by censorship of one form or another, which was sometimes deemed necessary during wartime. Theatre, on the other hand, bore fewer such restrictions. Thus, the authors argue, it was able to offer more diverse, nuanced representations of the war and US attitudes toward it.</p> <p>Following an introductory chapter wherein the authors lay out their purpose for the book, chapter 2 summarizes major theatrical fare related to European events prior to the bombing of Pearl Harbor in 1941. McLaughlin and Parry identify four themes under which the plays they consider cluster: 1) antiwar plays; 2) plays advocating for a strong defense; 3) plays depicting the US as a country under threat; and 4) plays centered on the existential crises of individual citizens. McLaughlin and Parry effectively demonstrate the nuance offered by Broadway theatre. For example, they juxtapose the cynicism of Robert E. Sherwood's 1936 play, <em>Idiot's Delight</em>, which concludes with the two main characters sardonically singing a Christian hymn during a bombing raid, wit
以下是内容的简要摘录，以代替摘要：评论者 百老汇参战：二战期间的美国剧院》，罗伯特-L.-麦克劳克林和莎莉-E.-帕里著，方兹-D.-吉尔里二世译 BROADWAY GOES TO WAR：二战期间的美国剧院》。作者：Robert L. McLaughlin 和 Sally E. Parry。莱克星顿：Lexington: University Press of Kentucky, 2021; pp.在《百老汇走向战争》一书中，罗伯特-L.麦克劳克林和莎莉-E.帕里将读者带入美国戏剧中一个常被忽视的时代。尽管该书的副标题显示该书的重点是战争年代，但实际上该书涵盖的时间跨度更大，从 1933 年一直延续到 1946 年。从剧本创作的角度来看，这个时代往往被视为艺术的荒漠，介于尤金-奥尼尔（Eugene O'Neill）在 20 世纪 20 年代的崛起和田纳西-威廉斯（Tennessee Williams）与阿瑟-米勒（Arthur Miller）在 20 世纪 40 年代后期的崛起之间。阿尔伯特-韦特海姆（Albert Wertheim）的《上演战争：美国戏剧与第二次世界大战》（2004 年）是最近对 20 世纪 40 年代美国戏剧的发展进行反思的努力之一。但总体而言，与这一时期相关的学术著作还很少。在这方面，McLaughlin 和 Parry 的著作为我们扩展对二十世纪美国戏剧的理解增添了[第 585 页完]值得欢迎的内容。McLaughlin 和 Parry 指出，他们的研究有两个主要目标：了解 "戏剧在第二次世界大战的大众文化表现中所扮演的角色"，以及探索 "戏剧的功能与其他大众文化媒体有何不同"(3)。基于这些目标，作者将商业剧院（严格定义为百老汇）定位为传播大众文化的独特媒介。其他媒体，如电影、广播和报纸，往往受到这样或那样的审查制度的限制，而在战争时期，审查制度有时被认为是必要的。而戏剧则很少受到这种限制。因此，作者认为，戏剧能够更多样、更细致地表现战争和美国对战争的态度。在引言一章中，作者阐述了本书的写作目的，随后第二章总结了 1941 年珍珠港事件之前与欧洲事件相关的主要戏剧作品。麦克劳克林和帕里确定了四个主题，他们认为这些戏剧集中在这四个主题之下：1）反战戏剧；2）倡导强大国防的戏剧；3）将美国描绘成一个受到威胁的国家的戏剧；4）以公民个人的生存危机为中心的戏剧。麦克劳林和帕里有效地展示了百老汇戏剧的细微差别。例如，他们将罗伯特-E-舍伍德（Robert E. Sherwood）1936 年的戏剧《白痴之乐》（Idiot's Delight）与 S. N. 贝尔曼（S. N. Behrman）1934 年的戏剧《天降甘霖》（Rain from Heaven）并列，前者玩世不恭，最后两位主角在轰炸中唱着基督教圣歌怡然自得，后者则先知先觉，特别暗示了即将发生的大屠杀。作者以微观的视角强调了舍伍德的愤世嫉俗与贝赫曼的道德要求，揭示了美国舆论对国外极权主义政权日益增长的威胁的不同看法。然而，本书的主要挑战也在于此，这在后面的章节中将会延续下去。作者的研究范围有时过于宽泛，涉及的剧目太多，梳理的类别也太多，以至于读者可能会不知所措。此外，即使是引用批评评论，对戏剧表演的观察也很有限。麦克劳林和帕里强调剧本分析是他们的主要研究方法。他们在这方面做得很透彻，但对戏剧实践元素如何影响观众的研究却基本上没有。接下来的章节沿用了第 2 章中确定的格式。第 3 章侧重于以海外为背景的戏剧。与其他参战国相比，作者在确立美国与实际冲突的距离方面做了扎实的工作。与欧洲公民不同，美国人没有遭受轰炸或入侵。因此，作者认为，百老汇在将战争带回家并使其在许多美国公民的生活中更加真实、更加个人化方面发挥了关键作用。第 4 章 "后方 "分析了战争期间以美国为背景的戏剧。该章强调了战争对美国人民生活的巨大影响。
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<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>The Spectacular Theatre of Frank Joseph Galati: Reshaping American Theatre in Chicago, Illinois</em> by Julie Jackson <!-- /html_title --></li> <li> Stuart J. Hecht </li> </ul> <em>THE SPECTACULAR THEATRE OF FRANK JOSEPH GALATI: RESHAPING AMERICAN THEATRE IN CHICAGO, ILLINOIS</em>. By Julie Jackson. London: Methuen Drama, 2024; pp. 215. <p>Frank Galati died in early 2023 at age 79. On <em>The Late Show with Stephen Colbert</em>, the usually sardonic host Colbert spent several minutes soberly marking his former teacher's passing, calling him "an inspiration to all who worked with him and a brilliant director." I, too, knew Galati from my time in the 1970s and '80s as a graduate student and then through my work on the artistic staffs of two prominent Chicago <strong>[End Page 580]</strong> theatres. Galati seemed to be everywhere, knew everyone, and was at the center of Chicago's thriving theatre scene. Although he remained a Chicagoan, Galati's reputation as an actor, adaptor, director and teacher grew to include Hollywood and Broadway. In <em>The Spectacular Theatre of Frank Joseph Galati</em>, Julie Jackson charts the evolution of Galati's artistry and approach, arguing for the primacy of his particular brand of "spectacular" visual stagings with their rich poesy. His methods—original and collaborative and diverse—embodied Chicago's theatrical spirit and influenced well beyond their Midwestern roots.</p> <p>Jackson's excellent study of Galati is a tribute to this extraordinary artist and teacher, but it considers him within the context of that time and place. Jackson spent hours interviewing and observing Galati at work. She approaches the book through the rich understanding of one who herself participated (sometimes with Galati) concurrently in the Chicago theatre scene as one of the city's leading costume designers. Fluent in stagecraft, sensitive to artistic choices, able to describe artistry with rigor, Jackson articulately explains how Chicago theatre in particular worked, both onstage and in its peculiar actor/audience dynamic. While her book offers an important biographical account of Galati's artistic career, Jackson's perspective also frames the unique utility of theatre scholarship developed out of close collaboration and relationships with one's subject.</p> <p>In the 1970s, Chicago began a remarkable theatrical era. New companies cropped up seemingly over night, transforming the city's many empty shops into "storefront theatres." Newcomers established ensembles, each dedicated to its own aesthetic. Theatremakers at the time were young, energetic, and enthusiastic. Since they were also ambitious, most demonstrated dedication, and imagination, each eager to establish their particular niche. Unlike New York's every-person-for-themselves approach, Chicago theatre favored the collective,
代替摘要，这里是内容的简短摘录：由：弗兰克·约瑟夫·加拉蒂的壮观剧院：重塑美国剧院在芝加哥，伊利诺伊州朱莉·杰克逊·斯图尔特·j·赫特弗兰克·约瑟夫·加拉蒂的壮观剧院：重塑美国剧院在芝加哥，伊利诺伊州。朱莉·杰克逊著。伦敦：梅休恩戏剧，2024；215页。弗兰克·加拉蒂于2023年初去世，享年79岁。在《斯蒂芬·科尔伯特深夜秀》（The Late Show with Stephen Colbert）节目中，一向爱讽刺的主持人科尔伯特花了几分钟冷静地纪念他昔日老师的去世，称他是“对所有与他共事过的人的鼓舞，是一位杰出的导演”。我也是在上世纪七八十年代读研究生时认识加拉蒂的，后来又在芝加哥两家著名剧院担任艺术工作人员。加拉蒂似乎无处不在，认识每一个人，是芝加哥欣欣向荣的戏剧界的中心。虽然他仍然是芝加哥人，但作为演员、改编演员、导演和教师，加拉蒂的名声在好莱坞和百老汇都有所增长。在《弗兰克·约瑟夫·加拉蒂的壮观剧院》一书中，朱莉·杰克逊描绘了加拉蒂艺术和方法的演变，以其丰富的诗意论证了他独特的“壮观”视觉舞台的首要地位。他的方法——独创、合作和多样化——体现了芝加哥的戏剧精神，其影响远远超出了中西部的根源。杰克逊对加拉蒂的出色研究是对这位非凡的艺术家和老师的致敬，但它将他置于那个时代和地点的背景下。杰克逊花了几个小时采访和观察加拉蒂的工作。她通过自己作为芝加哥最重要的服装设计师之一同时参与（有时与加拉蒂一起）芝加哥戏剧舞台的丰富理解来接近这本书。杰克逊精通舞台艺术，对艺术选择敏感，能够严谨地描述艺术，他清晰地解释了芝加哥剧院是如何特别运作的，无论是在舞台上还是在其独特的演员/观众动态中。虽然她的书为加拉蒂的艺术生涯提供了重要的传记描述，但杰克逊的观点也构建了戏剧奖学金的独特效用，这种效用源于与一个人的主题的密切合作和关系。20世纪70年代，芝加哥开始了一个非凡的戏剧时代。新公司似乎一夜之间就出现了，把这座城市的许多空商店变成了“临街剧院”。新来者建立了乐团，每个乐团都致力于自己的审美。当时的戏剧演员年轻、精力充沛、热情高涨。由于他们也雄心勃勃，大多数人都表现出奉献精神和想象力，每个人都渴望建立自己的特定领域。与纽约的“每个人都为自己”的方式不同，芝加哥剧院更喜欢集体，合作与竞争并存。制作范围从坚韧不拔的现实主义到故意的空洞，通常是用智慧和力量完成的。从20世纪70年代中期到2020年，芝加哥剧院发展到包括大约300家工作剧院，其中6家获得了美国最佳地区剧院托尼奖。加拉蒂第一次出现是在西北大学的口译系（不要和著名的戏剧系混淆）。在那里，他跟随罗伯特·布林（Robert Breen）和其他教师的脚步，学习非戏剧文学，并通过表演找到探索它们的方法。作为一名鼓舞人心的老师，加拉蒂鼓励学生在想象力和分析能力之间取得平衡。加拉蒂言出必行，他的改编作品赢得了全国的关注；例如，他曾以《意外的游客》（1988）获得奥斯卡提名。芝加哥歌剧院还委托他每年创作一部新剧本。加拉蒂的艺术发展了。他成为了芝加哥的一名演员，这将是他一生影响深远的事业。同时，加拉蒂成为了一位杰出的舞台导演，他不仅执导了经典作品，还执导了自己的戏剧改编作品。杰克逊详细描述了一部特别的作品，说明了加拉蒂的导演风格。在他制作的考夫曼和哈特的经典之作《来赴宴的人》中，《荒原狼》的演员劳里·梅特卡夫穿着露背礼服，扮演了一位喜怒无常的天后。加拉蒂故意让她在舞台上的错误位置出场，然后让她偷偷溜过去。杰克逊巧妙地描述了梅特卡夫是如何抓住舞台后墙，完全露着背部表演的。杰克逊能够以深思熟虑的细节描述她所目睹的一切，这使得她对每一部作品的描述都是一种真正的享受。读者看到……
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