THEATRE JOURNAL最新文献_第10页

Macbeth in Harlem: Black Theater in America From The Beginning to Raisin in the Sun by Clifford Mason (review) 哈莱姆的麦克白：从《开端》到《阳光下的葡萄干》的美国黑人剧院》，克利福德-梅森著（评论）

IF 0.5 3区艺术学 0 THEATER

THEATRE JOURNAL

Pub Date : 2024-06-06 DOI: 10.1353/tj.2024.a929526

Cheryl Black

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: <ul> <li> Macbeth in Harlem: Black Theater in America From The Beginning to Raisin in the Sun by Clifford Mason </li> <li> Cheryl Black </li> </ul> MACBETH IN HARLEM: BLACK THEATER IN AMERICA FROM THE BEGINNING TO RAISIN IN THE SUN. By Clifford Mason. New Brunswick, NJ: Rutgers University Press, 2020; pp. 234. As indicated by its subtitle, Clifford Mason’s Macbeth in Harlem traces the history of Black theatre in the United States from its beginnings in the early nineteenth century to the appearance of Lorraine Hansberry’s A Raisin in the Sun in 1959. Mason, who once described this book on X as a “fighting history of Black Theatre,” is committed to exposing the obstacles confronting the artists he writes about. It is a story that unfolds against a context of virulent anti-Black racism, enslavement, and de jure and de facto segregation and discrimination. While it is a story that ends before the momentous political achievements of a reinvigorated civil rights movement in the 1960s, Mason’s text still resonates [End Page 116] in the twenty-first-century US, the era in which a new civil rights movement has emerged to persuade the nation and the world that Black Lives Matter and in which a coalition of theatre artists of color issued the “We See You, White American Theater” (WSYWAT) manifesto to demand an end to systemic racism within the industry. Mason employs two controlling ideas throughout the narrative. Although the Federal Theatre Project’s Black-cast production of Macbeth is discussed, “Macbeth in Harlem” also serves as a metaphor for a kind of inclusion and recognition sought by Black theatre artists within US cultural life. The second recurring theme—evoked in almost every chapter to describe the nature of Black theatre artists’ “progress”—is the myth of Sisyphus, who continually pushes a boulder up a steep hill only to have it roll back down just as he approaches the top. Taking Orson Welles’s exoticized “voodoo Macbeth” as a progressive benchmark may seem problematic, but as a metaphor for wide-ranging inclusivity and increased representation, it is reasonably apt. Mason’s Sisyphean metaphor seems even more apt and in keeping with recent WSYWAT activism to combat systemic racism within the theatre that persists despite increased representation by Black playwrights and performers. The book is organized chronologically and composed of a brief introduction and six chapters, each surveying a particular timespan. Macbeth in Harlem is narrower in scope than Errol Hill and James Hatch’s comprehensive history of African American theatre published in 2003, though considerably broader than much recent scholarship in the field. For a relatively slim volume, it is remarkably detailed, yet also remark

以下是内容的简要摘录，以代替摘要：评论者哈莱姆的麦克白：美国黑人剧院从起点到阳光下的葡萄干》（Macbeth in Harlem: Black Theatre in America From The Beginning to Raisin in the Sun），作者克利福德-梅森（Clifford Mason），谢丽尔-布莱克（Cheryl Black MACBETH IN HARLEM: BLACK THEATER IN AMERICA FROM THE BEGINNING TO RAISIN IN THE SUN.作者：克利福德-梅森。新泽西州新不伦瑞克：罗格斯大学出版社，2020 年；第 234 页。正如其副标题所示，克利福德-梅森的《哈莱姆的麦克白》追溯了美国黑人戏剧的历史，从 19 世纪初的起步到 1959 年洛林-汉斯贝里的《阳光下的葡萄干》的问世。梅森曾将这本关于 X 的书描述为 "黑人戏剧的战斗史"，他致力于揭露他笔下的艺术家们所面临的障碍。这个故事是在反黑人种族主义、奴役、法律上和事实上的种族隔离和歧视等恶性事件的背景下展开的。虽然故事结束于 20 世纪 60 年代重振民权运动所取得的重大政治成就之前，但梅森的文字在 21 世纪的美国仍能产生共鸣 [第 116 页完]，在这个时代，新的民权运动已经兴起，向全国乃至全世界宣传黑人的生命至关重要，有色人种戏剧艺术家联盟也发表了《我们看见你了，美国白人剧院》（WSYWAT）宣言，要求结束戏剧界的系统性种族主义。梅森在叙事中运用了两个控制性思想。虽然讨论的是联邦剧院项目的黑人演员制作的《麦克白》，但 "哈莱姆的麦克白 "也隐喻了黑人戏剧艺术家在美国文化生活中寻求的一种包容和认可。第二个反复出现的主题是西西弗斯的神话，几乎每一章都引用这个神话来描述黑人戏剧艺术家 "进步 "的本质，西西弗斯不断将巨石推上陡峭的山坡，但当他接近山顶时，巨石又滚落下来。将奥森-威尔斯异域化的 "巫术麦克白 "作为进步的标杆似乎有问题，但作为广泛包容性和增加代表性的隐喻，却是相当贴切的。梅森的 "西西弗斯式 "隐喻似乎更加贴切，也与 WSYWAT 近期的活动相吻合，即打击戏剧界的系统性种族主义，尽管黑人剧作家和表演者的代表性有所提高，但这种种族主义依然存在。该书按时间顺序编排，由一个简短的导言和六个章节组成，每个章节考察一个特定的时间段。与埃罗尔-希尔和詹姆斯-哈奇于 2003 年出版的综合性非裔美国人戏剧史相比，《哈林区的麦克白》范围较窄，但与该领域近期的许多学术著作相比，范围则要宽广得多。作为一本相对较小的著作，它的内容非常详尽，但在表达上也非常简洁，这一特点使它特别适合一个学期的历史本科课程（希望第二学期的课程能侧重于从《太阳中的葡萄干》到现在的黑人戏剧）。梅森的黑人戏剧概念包括任何描绘黑人角色或由黑人演员扮演重要角色的戏剧表演。这一视角对白人创作的作品给予了相当大的关注，从那些因其恶劣影响而被认为值得关注的作品，到那些梅森认为对黑人生活和艺术进行了进步和真实描绘的作品。前一类作品包括黑脸吟游表演、《汤姆叔叔的小屋》（Uncle Tom's Cabin，1852 年）、《拖拉机》（The Octoroon，1859 年）和《绿色牧场》（The Green Pastures，1930 年）等，这些作品都因长期塑造虚假、非人化和有辱人格的 "现实 "而臭名昭著，如 "被贬低的奴才"、"宽容的人"、"不懂事的人"、白痴和自我贬低的黑人角色（57、59、63、66）。梅森对二十世纪中期重演的《汤姆叔叔的小屋》（Uncle Tom's Cabin）和《拖拉机》（The Octoroon）的分析尤其具有启发性（让人很想知道梅森对布兰登-雅各布斯-詹金斯（Branden Jacobs-Jenkins）最近对后者的反思）。进步的范例包括：联邦剧院项目的《麦克白》（1936 年）和水星剧院的《浮士德》（1937 年），这两部剧揭示了黑人演员对 "经典 "作品的驾驭能力；剧院联盟的《装卸工》（1934 年），该剧展现了黑人劳工对剥削的激进反抗；以及剧院公会的《他们不会死》（1934 年），该剧将对被诬告犯有强奸罪的斯科茨伯勒男孩的审判戏剧化。梅森对爱德华-谢尔顿（Edward Sheldon）的《黑鬼》（1909...

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引用次数: 0

How to Be Human in Drone Culture: In Search of a Pharmacological Recompense through Performance 如何在无人机文化中做人？通过表演寻找药理补偿

IF 0.5 3区艺术学 0 THEATER

THEATRE JOURNAL

Pub Date : 2024-06-06 DOI: 10.1353/tj.2024.a929512

Eirini Nedelkopoulou

Abstract:

This article examines how performance represents, reflects on, and reimagines the function of technology in drone culture. From a pharmaco-phenomenological angle, I analyze drone art practices, focusing on how drone performances invite audiences to feel/make their way through a networked reality. I highlight human tension, vulnerability, and precarity in their digital thrownness in conditions perceived as alien or alienating, yet not completely foreign or nonhuman. Featuring Ars Electronica Futurelab’s 100 Drones, Julian Hetzel’s The Automated Sniper, Laura Poitras’s Bed Down Location, and Random International’s Zoological, I investigate drones as pharmaka in practices where these technologies potentially antagonize, elevate, or even outperform their human counterparts. It is through this pharmacological functionality of drones that this article seeks to understand how to be human in drone culture.

摘要:本文探讨了表演如何在无人机文化中表现、反思和重新想象技术的功能。我从药物现象学的角度分析了无人机艺术实践，重点关注无人机表演如何邀请观众感受/创造他们在网络现实中的方式。我强调了人类在被视为异己或疏离，但又不完全是异己或非人类的条件下，被数字技术抛掷的紧张、脆弱和不稳定性。通过电子艺术未来实验室（Ars Electronica Futurelab）的《100 架无人机》（100 Drones）、朱利安-赫策尔（Julian Hetzel）的《自动狙击手》（The Automated Sniper）、劳拉-波伊特拉斯（Laura Poitras）的《床下地点》（Bed Down Location）和兰登国际（Random International）的《动物学》（Zoological），我将无人机作为药剂进行研究，在这些实践中，这些技术可能会对抗、提升甚至超越人类。本文正是通过无人机的这种药理学功能，试图理解如何在无人机文化中成为人类。

引用次数: 0

On Inclusion and Resurgence: The State of North American Indigenous Theatre and Performance Scholarship 关于包容与复兴：北美土著戏剧和表演学术研究现状

IF 0.5 3区艺术学 0 THEATER

THEATRE JOURNAL

Pub Date : 2024-03-13 DOI: 10.1353/tj.2023.a922219

Bethany Hughes

Abstract:

This article follows the structure of a pop song—verse, chorus, verse, chorus, bridge, chorus—to put into relationship scholarship on North American Indigenous theatre and performance, the current state of academia, the politics of Indigeneity, and critiques of recognition and inclusion from Indigenous Studies. Historicizing Indigenous theatre scholarship and production alongside Peter Morin and Jimmie Kilpatrick’s participatory karaoke performance, “Love Songs to End Colonization,” models disciplinary inclusion and how Indigenous performance challenges it. This essay turns to Glen Coulthard’s call for Indigenous resurgence and Dylan Robinson’s demonstration of disciplinary redress to explicate why Indigenous performance can be aesthetically and politically powerful. In singing these disparate ideas together, this essay considers the benefits and pitfalls of inclusion for Indigenous theatre into North American theatre production, scholarship, and higher education as well as issue a warning against complacent inclusion and mere celebrations of diversity. Indigenous performance asks more than theatre and performance studies often acknowledges; to engage with it robustly and productively, the field must be open to singing a song it is just beginning to learn.

摘要:本文按照流行歌曲的结构--反面、副歌、诗句、副歌、桥段、副歌--将北美土著戏剧和表演的学术研究、学术界的现状、土著政治以及对土著研究的认可和包容的批评联系起来。彼得-莫林（Peter Morin）和吉米-基尔帕特里克（Jimmie Kilpatrick）的参与式卡拉OK表演 "情歌终结殖民 "将原住民戏剧学术和制作与历史联系在一起，为学科包容性以及原住民表演如何挑战学科包容性树立了典范。这篇文章从格伦-库尔萨德（Glen Coulthard）对土著复兴的呼吁和迪伦-罗宾逊（Dylan Robinson）对学科纠正的示范中，解释了为什么土著表演在美学和政治上都能产生强大的力量。通过将这些不同的观点结合在一起，本文探讨了将土著戏剧纳入北美戏剧制作、学术研究和高等教育的益处和弊端，并对自满的包容和单纯的多样性庆祝提出了警告。原住民表演所提出的要求比戏剧和表演研究通常所承认的要多；为了有力而富有成效地参与其中，该领域必须敞开胸怀，唱出一首它刚刚开始学习的歌曲。

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引用次数: 0

Four Notes on Six Conversations 六次对话的四篇笔记

IF 0.5 3区艺术学 0 THEATER

THEATRE JOURNAL

Pub Date : 2024-03-13 DOI: 10.1353/tj.2023.a922315

Carla Neuss

In lieu of an abstract, here is a brief excerpt of the content: <ul> <li> Four Notes on Six Conversations </li> <li> Carla Neuss (bio) </li> </ul> In June 2023, I had the unexpected privilege of being able to sit down, in person, with six scholars in our field for a series of open-ended and wide-ranging conversations. The occasion was, nominally, a chance to reflect on the seventy-five years of Theatre Journal’s contribution to theatre scholarship; but over the course of my conversations with Rustom Bharucha, Jean Graham-Jones, Joseph Roach, Karen Shimakawa, Patricia Ybarra, and Harvey Young, what emerged was a multi-valenced probing of the past, present, and future of what has come to be known as theatre and performance studies. As a recently minted PhD, I was conscious of proverbially sitting at the feet of intellectual giants in our field and had planned on dutifully asking a series of pre-prepared questions: What has your experience with Theatre Journal been? What do you see as the role of scholarly journals today? What are your hopes for the next seventy-five years of the journal? As in only but the richest of conversations, what resulted exceeded the narrow bounds of such questions and I found myself sharing ideas, concerns, and hopes with my interlocutors that ran the gamut from redefining diversity to the collapse of public universities, the sidelining of theatre history to the tensions between scholarship and practice. My task since that June has been to distill the knowledges generated from these conversations in order to share them with TJ readers and the field at large. To that end, I have produced a series of short videos drawn from these interviews (which I had the good fortune to be able to record) as well as publishing the transcripts of our conversations in hopes of building an archive of reflections on the state of the field that can serve scholars in years to come. In this short essay, I cannot do justice to the richness of this archive. What I can do, though, is distill the threads of conversation into four key considerations, each of which continues to linger with me. I hope by sharing these notes with you we can collectively consider—and create—what the next seventy-five years of the discourse on theatre and performance will be and the form it will take. <ol> <li> 1. Dwindling, if not gone, are the days of receiving a journal like TJ in the mail, sitting down with a beverage of choice, and reading it cover to cover. Harvey Young suspects that perhaps only Ric Knowles still enacts that ritual of reading that was once dominant. For me, as a scholar raised in the keyword generation, reading a journal in its entirety has gone the way of listening to an entire album; instead, I usually just stream the hit single from Spotify (in this case, JSTOR or ProjectMuse.) A sense of loss surrounding this shift underpinn

以下是内容的简要摘录，以代替摘要：六次谈话的四篇笔记卡拉-诺伊斯（简历 2023 年 6 月，我意外地荣幸地与我们领域的六位学者当面坐下来，进行了一系列开放而广泛的谈话。名义上，这是一次反思《戏剧杂志》七十五年来对戏剧学术贡献的机会；但在我与拉ustom Bharucha、Jean Graham-Jones、Joseph Roach、Karen Shimakawa、Patricia Ybarra 和 Harvey Young 的谈话过程中，出现的是对戏剧和表演研究的过去、现在和未来的多角度探究。作为一名新近毕业的博士，我意识到自己正坐在本领域知识巨匠的脚下，并计划尽职尽责地提出一系列事先准备好的问题：您在《戏剧杂志》工作的经历如何？您认为当今学术期刊的作用是什么？您对该期刊下一个七十五年有何期许？我发现自己与对话者分享的想法、关注的问题和希望涵盖了从重新定义多样性到公立大学的崩溃、戏剧史的边缘化到学术与实践之间的紧张关系等方方面面。自今年 6 月以来，我的任务一直是提炼这些对话中产生的知识，以便与 TJ 的读者和整个领域分享。为此，我制作了一系列取材于这些访谈的视频短片（我有幸录制了这些视频短片），并出版了我们的谈话记录，希望能建立一个关于该领域现状的反思档案库，在未来的岁月里为学者们服务。在这篇短文中，我无法对这一档案的丰富内容做出公正的评价。不过，我可以做的是将对话的线索提炼为四个关键考虑因素，其中每一个都让我回味无穷。我希望通过与大家分享这些观点，我们能够共同思考--并创造--未来七十五年关于戏剧和表演的讨论将是怎样的，以及它将采取怎样的形式。 1.收到邮寄来的类似《TJ》这样的期刊，坐下来喝上一杯饮料，然后从头到尾读完的日子，即使还没有消失，也已经越来越少了。哈维-扬怀疑，也许只有里克-诺尔斯（Ric Knowles）还在坚持这种曾经占主导地位的阅读仪式。对我来说，作为一名在 "关键词 "时代成长起来的学者，阅读整本期刊就像听一整张专辑一样；相反，我通常只是从Spotify上下载热门单曲（这里指的是JSTOR或ProjectMuse）。当我们[第 E-67 页末]在策展背景之外消费学术成果时，我们会失去什么？但在其他方面，我们都从搜索引擎化的学术研究中获益匪浅，这在很大程度上是因为，通过算法和关键词，我们现在更有可能接触到我们自己领域之外的作品；我自己当前图书项目的核心案例研究就是在 JSTOR 上错误点击的结果，它们吸引了我的眼球，引起了我的好奇心。我的对话者们还谈到了学术出版向更开放获取模式转变的必要性和愿望。一些出版物已经在进行这种转变（JSTOR 每月向所有注册用户免费提供一百篇文章等举措推动了这种转变），这种转变有可能揭开付费墙的帷幕，因为付费墙往往使学术界以外的读者无法接触到有价值的作品。如果公众可以访问我们领域的学术成果，那么也许会有更多的学术成果面向公众。 2.2. 许多受访者以意想不到的方式谈到了多样性问题。帕特里夏-伊巴拉（Patricia Ybarra）诙谐地回顾了《戏剧杂志》及其同行期刊在扩大声音和投稿人范围方面所取得的进展。

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引用次数: 0

Baroque Modernity: An Aesthetic of Theater by Joseph Cermatori (review) 巴洛克现代性：约瑟夫-切尔马托里的《戏剧美学》（评论）

IF 0.5 3区艺术学 0 THEATER

THEATRE JOURNAL

Pub Date : 2024-03-13 DOI: 10.1353/tj.2023.a922237

David Krasner

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: <ul> <li> Baroque Modernity: An Aesthetic of Theater by Joseph Cermatori </li> <li> David Krasner </li> </ul> BAROQUE MODERNITY: AN AESTHETIC OF THEATER. By Joseph Cermatori. Baltimore: John Hopkins University Press, 2021; 298 pp. In Thornton Wilder’s inaugural 1938 production of Our Town, director Jed Harris staged a moment in the play where over a dozen actors portraying townspeople hold open umbrellas aloft on an otherwise bare stage. The decorative image, a sea of hovering black umbrellas, conveyed what was in keeping with the playwright’s penchant for baroque theatricality. Wilder, a close friend and colleague of Gertrude Stein, absorbed Stein’s conceptualization of opaque, esoteric, and stylized representations that drew from the qualities and history of the baroque. Wilder and Stein engaged in and promoted baroque modernity by combining the commonplace [End Page 584] with the visually profound, unworldly, and hyper-theatrical; they shared a vision of a modernized baroque theatre in which the spatial comportment of vivid spectacles and dynamic stage images created extravagant, playful, eclectic, exuberant, and temporally immediate (living in the moment) theatricality. The umbrella staging of Our Town aligns with Joseph Cermatori’s Baroque Modernity, a brilliantly written history of baroque theatre that focuses on four doyens of modern baroque aesthetic: Friedrich Nietzsche, Stéphane Mallarmé, Walter Benjamin, and Stein. By examining the theories, ideas, and staging of these four figureheads, the book documents “an account of the historical, artistic, and philosophical circumstances that made Wilder’s vision of baroque modernism possible” (6). Cermatori’s objective is to excavate the baroque from its perceived recidivist Renaissance antiquity and situate it firmly and dynamically in the modernist (specifically 1875 to 1935) Euro-American zeitgeist. This re-reading of the baroque significantly shifts our perspective of modern drama from a temporal drama to “also an art of space” (9), where the physical theatre incorporates architecture, music, dance, sculpture, lighting, engineering (“special effects”), and a plethora of visual-spatial aesthetics. Baroque themes for the four thinkers and writers, Cermatori claims, “held out a liberatory promise, one that can be read against the grain of the frequently reactionary program of seventeenth-century baroque art” (26). Rather than accepting modernism’s natural trajectory as leading towards realism or mimetically representative theatre, Cermatori provides an alternative modernity guided by Nietzsche, Mallarmé, Benjamin, and Stein’s advocacy for a lavishly anti-mimetic, Dionysian prone, and visually spectacular baroque-centered drama. His book offers a fresh

以下是内容的简要摘录，以代替摘要：评论者：巴洛克现代性：巴洛克现代性：戏剧美学》，约瑟夫-切尔马托里著，大卫-克拉斯纳译。约瑟夫-切尔马托里著。巴尔的摩：约翰-霍普金斯大学出版社，2021 年；298 页。在桑顿-怀尔德（Thornton Wilder）于 1938 年首演的《我们的小镇》中，导演杰德-哈里斯（Jed Harris）在剧中安排了这样一个场景：十几位扮演小镇居民的演员在光秃秃的舞台上高举着撑开的雨伞。这个装饰性的画面--一片盘旋的黑色雨伞的海洋--传达了剧作家对巴洛克式戏剧的偏爱。怀尔德是格特鲁德-斯坦因（Gertrude Stein）的密友和同事，他吸收了斯坦因不透明、神秘和风格化的表现概念，借鉴了巴洛克的特质和历史。怀尔德和斯坦因参与并推动了巴洛克式的现代性，他们将平凡 [尾页 584]的事物与视觉上深刻、不谙世事和超戏剧化的事物结合在一起；他们对现代化的巴洛克式戏剧有着共同的愿景，在这种戏剧中，生动奇观的空间组合和动态的舞台形象创造出奢华、俏皮、折衷、奔放和时间上即时（活在当下）的戏剧性。我们的小镇》的伞形舞台与约瑟夫-切尔马托里（Joseph Cermatori）的《巴洛克现代性》（Baroque Modernity）不谋而合，后者是一部出色的巴洛克戏剧史著作，重点介绍了现代巴洛克美学的四位大师：该书以弗里德里希-尼采、斯特凡-马拉美、瓦尔特-本雅明和斯坦因这四位现代巴洛克美学大师为中心。通过研究这四位大师的理论、思想和舞台表演，该书记录了 "使怀尔德的巴洛克现代主义愿景成为可能的历史、艺术和哲学环境"(6)。Cermatori 的目标是将巴洛克从其被认为是文艺复兴时期的复古主义中挖掘出来，并将其牢牢地、充满活力地置于现代主义（特别是 1875 年至 1935 年）的欧美潮流之中。这种对巴洛克的重新解读极大地改变了我们对现代戏剧的看法，使其从时间戏剧转变为 "空间艺术"（9），其中实体戏剧融合了建筑、音乐、舞蹈、雕塑、灯光、工程（"特效"）以及大量的视觉空间美学。切尔马托里称，巴洛克主题对于这四位思想家和作家来说，"蕴含着一种解放的希望，可以与十七世纪巴洛克艺术的反动纲领背道而驰"（26）。Cermatori 并没有接受现代主义走向现实主义或模仿性戏剧的自然轨迹，而是在尼采、马拉美、本雅明和斯坦因倡导的反模仿性、狄奥尼派倾向和以巴洛克为中心的视觉壮观戏剧的指导下，提供了另一种现代性。他在书中对巴洛克风格进行了新颖而发人深省的解读，重新发现了这四位原创艺术家和哲学家的魅力所在，因为他们常常克服重重困难，试图将戏剧重新塑造为灵感的源泉。尼采在书中成为现代巴洛克戏剧的初步评论者和实践者。Cermatori 称，尼采的目标是用 "补充性和非语言性的动觉行动领域 "取代语义学（以语言为中心）和模仿学（亚里士多德）对戏剧的强调，其中包含 "运动中的肉体强度，将触觉冲动从化身表演者传达给化身观察者"（37）。尼采崇尚视觉戏剧而非戏剧，他努力用狄奥尼式的狂喜来点缀舞台，也就是 Cermatori 所说的巴洛克式非模仿舞台，"目的是放大戏剧自身的力量"（40）。尼采抵制 "自我作为一个稳定而居中的主体的安慰性、身份主义概念"（60），意在撼动现状。Cermatori 声称，尼采通过在舞台上强加流动的、神秘的、非矩阵式的戏剧姿态和意象，通过建立一种不稳定的、表演性的、非中心化的性别和性身份，影响了二十一世纪的后现代戏剧和同性恋理论。他通过强调情色的感官性和肉体性以及戏剧性的厚重质感、舞台体验的奢华和内涵修饰，"通过艺术媒介达到感官刺激效果的戏剧性风格意志"（42），得出了这一论断。下一章的重点是马拉美，尤其是他的戏剧《Hérodiade》，该剧 "展开了一种感性的、唯物主义的、最终是寓言式的戏剧性形式，它既为新的表演前卫主义（如莫里斯-梅特林克、F. T. 马里内蒂、约翰-凯奇和其他许多人所探索的表演前卫主义）设定了条件，自身又带有巴洛克风格的历史痕迹"（67）。在马拉美的戏剧和诗歌中，复杂性和奇观照亮了巴洛克风格的点缀......

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引用次数: 0

Trans Care by Hil Malatino (review) 希尔-马拉蒂诺的《变性护理》（评论）

IF 0.5 3区艺术学 0 THEATER

THEATRE JOURNAL

Pub Date : 2024-03-13 DOI: 10.1353/tj.2023.a922239

Dan Paz

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: <ul> <li> Trans Care by Hil Malatino </li> <li> Dan Paz </li> </ul> TRANS CARE. By Hil Malatino. Forerunner Series. Minneapolis, MN: University of Minnesota Press, 2020; pp. 79. Trans Care, written in the context of western, queer, trans and non-binary experience, is part of University of Minnesota Press’s Forerunners: Ideas First series. These books, short in length and sometimes long and wild in sentiment, are meant to provide a [End Page 597] more immediate and open-access space for scholars to speculate, analyze, and think out loud. Rather than producing a guide or manual, Hil Malatino illustrates how daily negative affect impacts queer, trans, and non-binary lives. One of the topics that Malatino takes up is the harm of misgendering. Malatino critiques misgendering as a microaggression that is not simply offensive to an individual’s sensibilities but is instead ultimately an ontological refusal of the legitimacy of trans existence. In response to such attacks, Malatino uses photography as a metaphor to describe a culture of trans care that pushes beyond the frame of rote institutional mores to provide a temporally generative space for thinking about trans existence and imagining its possibilities. Malatino looks for relations between the lived experiences documented by photographs, the aesthetics and limits of the photograph, and the photograph’s audience, leveraging what French photography theorist Roland Barthes would call the overall cultural interplay between personal and collective responses to visual representations in the “studium.” In this reading, the image depicts both the cultural and structural aspects of society, while shaping and interacting with our lives. In the first chapter, “Surviving Trans Antagonism,” Malatino describes the anticipation of his upcoming top-surgery to explore aftercare as a world of living and wellness; a vulnerability “that facilitates and supports emergence into a radically recalibrated experience of both body-mind and the world it encounters” (3). He uses contemporary photographic mise en scene, contextualizing a single frame of space in time, to decenter Eurocentric and normative concepts of family, picking apart “dominant imaginaries of how care labor does and should operate” (7). Malatino asks, “how are queer and trans folx living in the world, and how is the world living around us?” Recently, my partner underwent gender affirming surgery, and it’s been difficult to reckon with the degree of queer kin interdependence required to make our lives work. They had a very alarming fainting spell the day after top surgery while on a host of medications. Stumbling to answer a series of dated and irrelevant questions on a 911 phone call to paramedics, I was bo

以下是内容的简要摘录，以代替摘要：评论者：希尔-马拉蒂诺（Hil Malatino）丹-帕斯（Dan Paz）的《变性关怀》（TRANS CARE）。作者：希尔-马拉蒂诺。先驱者系列。明尼苏达州明尼阿波利斯市：明尼苏达大学出版社，2020 年；第 79 页。变性关怀》以西方、同性恋、变性和非二元经历为背景，是明尼苏达大学出版社先行者系列的一部分：Ideas First 系列的一部分。这些书篇幅短小，有时篇幅较长，情绪狂野，旨在为学者们提供一个[尾页 597]更直接、更开放的空间，让他们大胆猜测、分析和思考。希尔-马拉蒂诺没有编写指南或手册，而是说明了日常负面影响如何影响同性恋、变性人和非二元生活。马拉蒂诺探讨的话题之一是错误性别的危害。马拉蒂诺将误称批评为一种微侵犯，这种侵犯不仅仅是对个人情感的冒犯，而是最终从本体论上否定了变性人存在的合法性。为了回应这种攻击，马拉蒂诺以摄影为隐喻，描述了一种变性关怀文化，这种文化超越了生搬硬套的制度框架，为思考变性人的存在和想象其可能性提供了一个时间上的生成空间。马拉蒂诺利用法国摄影理论家罗兰-巴特（Roland Barthes）所说的 "studium "中个人和集体对视觉表征的反应之间的整体文化相互作用，寻找照片所记录的生活经历、照片的美学和局限性以及照片的受众之间的关系。在这种解读中，图像描绘了社会的文化和结构方面，同时塑造了我们的生活，并与我们的生活相互作用。在第一章 "跨性别对立中的生存 "中，马拉蒂诺描述了他对即将到来的顶级手术的期待，以探索作为生活和健康世界的术后护理；一种 "促进和支持身体-心灵及其所遭遇的世界从根本上重新调整体验 "的脆弱性(3)。他利用当代摄影的现场感，将单一的时间空间背景化，去中心化欧洲中心主义和规范的家庭概念，挑剔 "关于护理劳动如何运作以及应该如何运作的主流想象"（7）。马拉蒂诺问道："同性恋和变性人是如何生活在这个世界上的，这个世界又是如何生活在我们周围的？最近，我的伴侣接受了性别确认手术，这让我很难重新认识到，要让我们的生活正常运转，需要有多大程度的同性恋亲属相互依存。在顶级手术后的第二天，他们在服用大量药物的情况下出现了非常惊人的昏厥。在打给医护人员的 911 电话中，我磕磕绊绊地回答了一系列过时且无关紧要的问题，我既困惑又气愤："她是女性吗？"出生时的性别是什么？""有女性生殖器吗？"我伴侣的性别会如何影响或干扰医疗响应的紧迫性？幸运的是，我的伴侣在昏厥中幸免于难，然而，这次经历具体体现了马拉蒂诺所说的 "性别泛视"（27）：一种持续的、国家认可的监视方法，在这种方法中，异性恋规范的性别二元对立被普遍复制，往往带来致命的后果。马拉蒂诺敏锐地运用了反转性和摄影理论，颠覆了这种性别看守所的静态形象。监控在其有限的机构语言中寻找它所识别的东西。在 "Something Other Than Trancestors "中，马拉蒂诺在这一令人难忘的章节中延续了批判性反思的模式，将他的档案研究视为分离和生存。他提到了一张克劳德-卡洪的照片，将其作为 "围绕图像的性别转换性而流传的标准女权主义分析--卡洪是在训练成为女人，还是不成为女人？(51)作为一种有限的性别分析，他将这些辩证法重定向为一种更大、更广阔的拒绝，暗示所有这些约定俗成的东西可能会产生误解，而这些误解在新陈代谢时会影响变性、同性恋和非二元主体的形成，从而留下持久的印记。马拉蒂诺将变性者的单一身份视为一种西方殖民姿态。相反，他认为变性审美实践可以在 "过渡、性别不稳定性和欲望之间的联系"（52）中打开一个可能性空间。乔丹-雷兹尼克（Jordan Reznick）在撰写克劳德-卡洪（Claude Cahun）和马塞尔-摩尔（Marcel Moore）的摄影作品时，将这种联系称为 "更全面的框架，用以理解变性人的主体性"（《透过断头台的镜子：克劳德-卡洪

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引用次数: 0

"Moving Through and Beyond": Asian American Theatre and Performance Studies "穿越与超越"：亚裔美国人戏剧与表演研究

IF 0.5 3区艺术学 0 THEATER

THEATRE JOURNAL

Pub Date : 2024-03-13 DOI: 10.1353/tj.2023.a922211

Josephine Lee

Abstract:

For decades, Theatre Journal has deeply engaged with different aspects of Asian American theatre and performance. This essay surveys a range of Theatre Journal articles published from the 1990s in order to map out this distinctive area of theatre and performance studies. Key articles by James Moy, Karen Shimakawa, and Daphne Lei grapple with the legacy of racial stereotypes and the aesthetics and reception of contemporary Asian American performance. Essays by Angela Pao, Celine Parreñas Shimizu, Sean Metzger, and Ju Yon Kim emphasize the racialized bodies of actors and the history of yellowface and brownface acting, while Christopher Eng, Christine Mok, Megan Shea, and Dan Bacalzo emphasize the intersectional and transnational dimensions of Asian American expression. These and other scholars of Asian American theatre and performance continue to engage with new aspects of immigrant and refugee performance as well as gender and sexuality in Asian American theatre. At a time of changing demographics and cultural visibility, this essay helps us see how scholars have addressed the enormous diversity of Asian American experiences and perspectives as well as common preoccupations about visibility and representation, the persistence of orientalist typecasting, and the dynamic and complicated nature of Asian American identity.

摘要:几十年来，《戏剧杂志》深入研究了亚裔美国人戏剧和表演的各个方面。本文对《戏剧杂志》自 20 世纪 90 年代以来发表的一系列文章进行了调查，以勾勒出这一独特的戏剧和表演研究领域。詹姆斯-莫伊（James Moy）、凯伦-岛川（Karen Shimakawa）和达芙妮-雷（Daphne Lei）的主要文章探讨了种族成见的遗留问题以及当代亚裔美国人表演的美学和接受问题。Angela Pao、Celine Parreñas Shimizu、Sean Metzger 和 Ju Yon Kim 的文章强调了演员种族化的身体以及黄脸和褐脸表演的历史，而 Christopher Eng、Christine Mok、Megan Shea 和 Dan Bacalzo 则强调了亚裔美国人表达的交叉性和跨国性。这些学者和其他研究亚裔美国人戏剧和表演的学者将继续研究亚裔美国人戏剧中移民和难民表演以及性别和性的新方面。在人口结构和文化能见度不断变化的时代，这篇文章帮助我们了解学者们是如何处理亚裔美国人经验和观点的巨大多样性，以及对能见度和代表性的共同关注、东方主义类型化的持续存在，以及亚裔美国人身份的动态和复杂性。

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引用次数: 0

Mel Brooks: Disobedient Jew by Jeremy Dauber (review) 梅尔-布鲁克斯Jeremy Dauber 著的《不听话的犹太人》（评论）

IF 0.5 3区艺术学 0 THEATER

THEATRE JOURNAL

Pub Date : 2024-03-13 DOI: 10.1353/tj.2023.a922240

Brynn W. Shiovitz

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: <ul> <li> Mel Brooks: Disobedient Jew by Jeremy Dauber </li> <li> Brynn W. Shiovitz </li> </ul> MEL BROOKS: DISOBEDIENT JEW. By Jeremy Dauber. New Haven, CT: Yale University Press, 2023; pp. 201. It seems fitting that a biography of Mel Brooks would be published the same week that the comedian auteur released History of the World, Part II on Hulu, a sequel audiences have been anticipating for the last forty-two years. Jeremy Dauber’s survey of Mel Brooks’s career as “Disobedient Jew” is not a typical piece of academic scholarship, but instead a breezy, pun-laden yet deeply articulate bio-analysis of Brooks’s métier writ large. Utilizing a combination of primary source material, Brooksian humor, Yiddish knowledge, and in-depth analysis, Dauber demonstrates his insider status as a descendant of the old country as well as his command of popular culture, an unironically self-reflexive identity necessary to critique the unapologetically Jewish Brooks who has always relied heavily on these traits to tell his stories. Mel Brooks made having fun a requirement of his success, and Dauber has clearly done the same with this book. Mel Brooks: Disobedient Jew will prove helpful to anyone teaching a film genre course on parody/comedy or a class on Jewish film/performance. It is also a great resource for anyone taking up questions of representational politics, as Dauber addresses Brooks’s often controversial choices. It is easy to get swept up in someone’s notoriety and think it was just good fortune that brought them there. Dauber shows, however, that Mel Brooks worked tirelessly to arrive at his fame and acclaim. Brooks lost his father as a toddler, making it understandable why he would forever crave attention—a comic’s cliché—and why the streets of Brooklyn would become so formative for him. It is on these streets that a young Brooks would learn the “art of the fast-paced, free-flow, wild man shpritz” (7). A 1930s Brooklyn vernacular was quick-witted, sassy, and predominantly Jewish, a tongue which no doubt surfaces in everything Brooks touches. Understanding this Brooklyn vernacular helps to highlight the similarities between Brooks’s comedic style and the style of his Jewish predecessors, comedians like Eddie Cantor who Brooks grew up observing and no doubt emulating. An Amerikaner-geboyren who lived amongst other first-generation US Jews, Brooks was simultaneously shaped by the language and familiarity of his Eastern European neighbors and the more assimilated entertainers he grew up watching on the screen and stage. As Dauber writes, “the outer-borough kid dreamed of the Great White Way, which was everything Manhattan was supposed to be; sophisticated, cosmopolitan, rich, and of course, more than ever so slightly Gentile—the kin

以下是内容的简要摘录，以代替摘要：评论者：梅尔-布鲁克斯Jeremy Dauber Brynn W. Shiovitz MEL BROOKS：不听话的犹太人作者：Jeremy Dauber。康涅狄格州纽黑文：耶鲁大学出版社，2023 年；第 201 页。梅尔-布鲁克斯的传记在这位喜剧大师在 Hulu 上映《世界史，第二部》的同一周出版，这似乎再合适不过了，在过去的 42 年里，观众们一直在期待这部续集。杰里米-道博（Jeremy Dauber）对梅尔-布鲁克斯作为 "不听话的犹太人 "的职业生涯进行了调查，这不是一部典型的学术著作，而是对布鲁克斯的职业生涯进行了轻松愉快、充满双关语但又深入浅出的生平分析。利用原始资料、布鲁克斯式的幽默、意第绪语知识和深入分析，道伯展示了他作为老家后裔的内行身份以及他对流行文化的掌握，这种毫无讽刺意味的自我反思身份是批判毫不掩饰的犹太裔布鲁克斯所必需的，因为布鲁克斯在讲述他的故事时一直非常依赖这些特征。梅尔-布鲁克斯将乐趣作为自己成功的必要条件，而道博在本书中显然也做到了这一点。梅尔-布鲁克斯：梅尔-布鲁克斯：不听话的犹太人》将对任何教授电影类型课程（戏仿/喜剧）或犹太电影/表演课程的人有所帮助。同时，这本书也是探讨代表性政治问题的重要资料，因为 Dauber 谈到了布鲁克斯经常引起争议的选择。人们很容易被某个人的恶名所迷惑，认为这只是好运气使然。然而，道伯告诉我们，梅尔-布鲁克斯是经过不懈努力才成名并获得赞誉的。布鲁克斯在蹒跚学步时就失去了父亲，这就不难理解他为什么会永远渴望得到关注--这是喜剧演员的老生常谈，也不难理解布鲁克林的街道为什么会对他产生如此深远的影响。正是在这些街道上，年轻的布鲁克斯学会了 "快节奏、自由流动、野蛮人的艺术"（7）。20 世纪 30 年代的布鲁克林方言机智、时髦，而且以犹太人为主，毫无疑问，布鲁克斯接触到的一切都体现了这种方言。了解这种布鲁克林方言有助于凸显布鲁克斯的喜剧风格与其犹太前辈的风格之间的相似之处，这些犹太前辈是埃迪-坎托（Eddie Cantor）这样的喜剧演员，布鲁克斯在成长过程中一直在观察他们，无疑也是在模仿他们。布鲁克斯是一个生活在美国第一代犹太人中间的美籍犹太裔人，他同时受到东欧邻居的语言和熟悉感的影响，也受到他从小在银幕和舞台上看到的同化程度更高的艺人的影响。正如道伯（Dauber）所写，"这个外区的孩子梦想着伟大的白色之路，那是曼哈顿应有的一切；精致、国际化、富有，当然，更多的是些许的外邦人--那种可能不会想要他成为会员的俱乐部"（9）。布鲁克斯既爱上了外邦人的生活，又巧妙地意识到了自己的障碍。布鲁克斯去曼哈顿观看了科尔-波特的《随心所欲》（Anything Goes），从此便被戏剧的魅力深深吸引："在回家的路上......[布鲁克斯]下定决心......'我要进入演艺圈，没有什么能阻止我！'"（10）。(10).这些引文为道博的这本书定下了基调：他热情洋溢地描写了狂热的布鲁克斯，同时敏锐地洞察到这位喜剧演员的犹太血统对其事业的影响。虽然作者和这位著名喜剧演员都意识到反犹太主义无处不在，但他们都没有将反犹太主义视为布鲁克斯事业的巨大障碍。相反，道伯将这种阻力归结为布鲁克斯创作过程中的磨难，将犹太人这一点作为一个重要的旁观者，而不是故事的全部。我们可以真切地感受到布鲁克斯永不满足的勇气，以及为了向美国证明什么而不惜一切代价说出自己想法的意愿。布鲁克斯的第一份工作是在卡茨基尔的巴特勒小屋。在休息时间，他成了一名表演艺术家，或者像道博尔所描述的那样，成了一名 "掷骰子者"（冒险并冒着被观众掷骰子的风险的人）。据说在 1940 年的夏天，一个身穿羊驼绒大衣和德比鞋的年轻人（布鲁克斯）会带着两个...

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引用次数: 0

Kate (review) 凯特（评论）

IF 0.5 3区艺术学 0 THEATER

THEATRE JOURNAL

Pub Date : 2024-03-13 DOI: 10.1353/tj.2023.a922232

Daniel Sack

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: <ul> <li> Kate </li> <li> Daniel Sack </li> </ul> KATE. By Kate Berlant. Directed by Bo Burnham. Connelly Theater, New York. September 29, 2022. If a tear is, as William Archer wrote in his 1888 treatise against Diderot, the “external, visible, sensible fact” of the “most important emotion” for an actor, then one can understand how an actor’s failure to produce this sign of effective performance could be devastating. In comedian Kate Berlant’s spiraling meta-performance Kate, the titular character’s inability to cry on cue is itself the traumatic foundation upon which a self is constructed. Berlant’s star is on the rise. Her standup special Cinnamon in the Wind premiered on Hulu two weeks before I caught Kate; both performances were directed by the equally multi-faceted Bo Burnham. Berlant’s brand of experimental comedy shows a sophistication that resonates with the ironic simulations of the downtown New York performance scene while also evincing a genuine love for live theatre. The lobby of the Connelly Theater was crammed full of all things “Kate”: her name and photos hung on the walls, her black jeans and top displayed in vitrines, her Moleskine notebook elevated on a plinth. Two immersive “experiences” flanked the lobby, inviting the audience to relive the performer’s past: the first, a stretch of sand, recalling her youth on the beaches of Santa Monica; the second, a recreation of her childhood living room, her father’s ersatz lounge chair center. An artist’s statement just this side of pretension proclaimed: “The theatre requires a sacred corporal exchange […] As I enter this space, I am destroyed and transformed, made consumable only as I become consumed by my own narrative.” And there, on a bench to one side, sat the woman herself, in dark sunglasses, scrolling through her phone, wearing a sign that said: “Ignore me.” Click for larger view View full resolution Kate Berlant in Kate. Photo: Emilio Madrid. If the lobby display sent up the narcissism sanctified by both celebrity and museum culture, the performance parodied the genre of the autobiographical monologue. Shifting between direct address and her over-the-top characterizations (including her impersonation of an old stagehand who bookended the show with claptrap about the magic of the stage), Berlant put her own spin on the familiar story of the small-town girl, sitting on her porch under the stars and dreaming of making it big in Hollywood. Stymied by a mother who insists that her “big, crass style of indication has no place on camera,” Kate travels to New York and takes to the stage instead, which she hopes will be more forgiving. Retreading the narrative arc of many such shows, she must overcome a secret trauma to achieve success

以下是内容的简要摘录，以代替摘要：审稿人：凯特-丹尼尔-萨克 KATE.作者：凯特-贝兰特。导演：Bo Burnham。纽约康纳利剧院。2022年9月29日如果眼泪正如威廉-阿切尔（William Archer）在其 1888 年反对狄德罗的论文中所写的那样，是演员 "最重要的情感 "的 "外在的、可见的、可感的事实"，那么我们就可以理解，演员如果不能表现出这种有效表演的标志，会有多么大的破坏力。在喜剧演员凯特-伯兰特（Kate Berlant）螺旋式上升的元表演《凯特》中，主角无法按提示哭泣本身就是构建自我的创伤性基础。贝兰特的明星地位正在上升。在我观看《凯特》的两周前，她的单口相声特别节目《风中肉桂》（Cinnamon in the Wind）在 Hulu 首播；两场演出的导演都是同样多才多艺的博-伯纳姆（Bo Burnham）。贝兰特的实验喜剧品牌展现出一种精致，与纽约市中心表演场景的讽刺模拟产生共鸣，同时也流露出对现场戏剧的真挚热爱。康奈利剧院的大厅里摆满了 "凯特 "的各种物品：她的名字和照片挂在墙上，她的黑色牛仔裤和上衣陈列在玻璃橱窗里，她的 Moleskine 笔记本被放在基座上。大厅两侧有两处身临其境的 "体验"，邀请观众重温表演者的过去：第一处是一片沙滩，让人回想起她年轻时在圣莫尼卡海滩上的生活；第二处是她儿时客厅的再现，中间是她父亲的假躺椅。艺术家的声明宣称："剧院需要神圣的肉体："剧院需要神圣的肉体交换[......]当我进入这个空间时，我被摧毁，被改变，只有当我被自己的叙述所吞噬时，我才可以被消费"。在一边的长椅上，坐着这位女士自己戴着深色墨镜，翻阅着她的手机戴着一个牌子，上面写着："别理我"别理我" 点击查看大图查看完整分辨率《凯特》中的凯特-贝兰特。照片：埃米利奥-马德里：埃米利奥-马德里如果说大厅的陈列展示了名人和博物馆文化所宣扬的自恋，那么表演则模仿了自传体独白的体裁。贝兰特在直接讲话和夸张的人物造型（包括模仿一位老舞台工作人员，在演出中喋喋不休地讲述舞台的魔力）之间转换，她对人们熟悉的小镇女孩的故事进行了自己的诠释，这个女孩坐在星空下的门廊上，梦想着在好莱坞大红大紫。凯特的母亲坚持认为她 "大而粗鲁的表演风格不适合上镜"，这让凯特很受挫，于是她来到纽约，走上了舞台，她希望舞台能给她更多的宽容。凯特重蹈了许多此类节目的叙事弧线，她必须克服秘密的创伤才能获得成功。但在这里，经常被提及的创伤记忆就像洋葱一样被一层层剥开，却从未揭示出核心；相反，凯特用更机械的方式来讲述一个同样像洋葱一样催人泪下的事件。每一次的揭示都具有真实创伤经历的外在形态。例如，当母亲发现年幼的凯特在玩弄父亲的摄像机时，贝兰特模仿母亲举起拳头，威胁要对孩子施暴，但对象却是她心爱的摄像机。后来，一位年长的男子邀请这位天真无邪的乡下女孩回到他的公寓，看似有意引诱她，却不是把她引到卧室，而是引到摄像机前，引诱她在特写镜头下表演不同的情绪。如果说贝兰特的母亲将电影视为禁忌，那么在剧院里，三脚架上的摄像机则是禁果，在贝兰特的整个表演过程中，摄像机一直在舞台边缘监视着她。真正的创伤，如果可以称之为创伤的话，最终是技巧问题。凯特第一次在银幕上试镜时被要求哭泣，但她却停滞不前。我们在表演者身后的投影大屏幕上看到了这一切。试镜现场一切顺利，女演员在私密的电影世界中表现得很克制。但当剧本要求角色哭泣时， [第 576 页完] 贝兰特的脸部表情分解成了......

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引用次数: 0

On Editing, Paying it Forward, and Having Energy: A Conversation with Jean Graham-Jones, Former Editor 关于编辑、回报和活力：与前编辑让-格雷厄姆-琼斯的对话

IF 0.5 3区艺术学 0 THEATER

THEATRE JOURNAL

Pub Date : 2024-03-13 DOI: 10.1353/tj.2023.a922317

Jean Graham-Jones, Carla Neuss

In lieu of an abstract, here is a brief excerpt of the content:

On Editing, Paying it Forward, and Having Energy: A Conversation with Jean Graham-Jones, Former Editor
Jean Graham-Jones (bio) and Carla Neuss (bio)

This interview was conducted in June 2023 at Yale University through the support and generosity of the Yale Institute of Sacred Music, UCLA, and ATHE; it has been edited for clarity and length.

Jean Graham-Jones (JGJ):

I was coeditor and then editor of Theatre Journal from 2004 through the end of 2007. I worked first with Harry Elam and then with David Saltz. It was a wonderful experience. I really love the apprenticeship model. Being coeditor and actively producing issues—it’s such a relief to have that under your belt by the time you assume the editorship. But that wasn’t my first engagement with Theatre Journal. I first published an article with Theatre Journal in 2001, edited by Susan Bennett. It was from my revised dissertation, which turned into a monographic study, and I was writing about censorship and Buenos Aires, Argentine theatre, and theatre artists during the military dictatorship of 1976 to 1983. I just submitted an article cold, as we all do. I sought to insert myself into a larger conversation. I’ll talk some more about that later on. But I really wanted to talk about Argentine theatre outside of a strictly Latin American theatre context, which is also a world I live in and love.

So that was my first experience publishing with Theatre Journal. Afterward, in 2014, I published another essay. Ric Knowles was the editor at that point, and that piece was about Argentine theatre during the latest socioeconomic crisis at the beginning of [End Page E-81] the twenty-first century. My students are always surprised: “You just submitted it like everybody else?” And I say, “Well, yeah, you’ve got to walk the talk.” I also published a performance review essay on the contemporary Buenos Aires theatre scene at the invitation of then-performance review editor Daniel Sack. That was a lot of fun. I think that was 2016. And my monographs have been reviewed in Theatre Journal as well. I’m currently on the editorial board, and I continue to serve as a peer reviewer. So I’m a big fan, and editing Theatre Journal remains one of the highlights of my entire academic career. It happened because after that first article was published, Janelle Reinelt, a former editor of Theatre Journal from a little bit before then sent me an email and said, “Jean, I think you should apply to be coeditor of Theatre Journal.” I said, “Wow, thank you. That’s a great idea. Someday I’ll do it.” And Janelle said, “No, do it now while you still have the energy.” So I have Janelle to thank for that c

以下是内容的简要摘录，以代替摘要：关于编辑、回报和精力：与前编辑让-格雷厄姆-琼斯（Jean Graham-Jones）的对话让-格雷厄姆-琼斯（Jean Graham-Jones）（简历）和卡拉-诺伊斯（Carla Neuss）（简历）本访谈于 2023 年 6 月在耶鲁大学进行，得到了耶鲁大学圣乐研究所、加州大学洛杉矶分校和 ATHE 的大力支持和慷慨解囊；为清晰和冗长起见，对访谈内容进行了编辑。让-格雷厄姆-琼斯（Jean Graham-Jones，JGJ）：从 2004 年到 2007 年底，我先后担任《戏剧杂志》的联合编辑和编辑。我先后与哈里-埃兰（Harry Elam）和大卫-萨尔茨（David Saltz）共事。这是一段美妙的经历。我非常喜欢学徒模式。作为联合编辑，积极制作刊物--当你担任编辑一职时，能有这样的经历真是如释重负。但这并不是我第一次接触《戏剧杂志》。我第一次在《戏剧杂志》上发表文章是在 2001 年，编辑是苏珊-贝内特（Susan Bennett）。那是我修改后的毕业论文，后来变成了一篇专题研究，我写的是 1976 年至 1983 年军事独裁期间的审查制度和布宜诺斯艾利斯、阿根廷戏剧以及戏剧艺术家。我只是像大家一样，提交了一篇冷冰冰的文章。我试图将自己置身于一场更大的对话中。关于这一点，我稍后再谈。但我真的很想在严格意义上的拉美戏剧语境之外谈论阿根廷戏剧，这也是我生活和热爱的世界。这就是我第一次在《戏剧杂志》上发表文章的经历。之后，2014 年，我又发表了一篇文章。当时的编辑是里克-诺尔斯（Ric Knowles），那篇文章讲述的是阿根廷戏剧在二十一世纪初 [第 E-81 页完] 最近一次社会经济危机期间的情况。我的学生们总是很惊讶："你就像其他人一样投稿了？"我说："是的，你得说到做到"。应时任表演评论编辑丹尼尔-萨克（Daniel Sack）的邀请，我还发表了一篇关于当代布宜诺斯艾利斯戏剧场景的表演评论文章。那很有趣。我想那是2016年的事了。我的专著也在《戏剧杂志》上发表过评论。我现在是编委会成员，并继续担任同行评审。因此，我是《戏剧杂志》的忠实粉丝，编辑《戏剧杂志》仍然是我整个学术生涯的亮点之一。之所以会这样，是因为第一篇文章发表后，《戏剧杂志》的前任编辑珍妮尔-莱纳尔特（Janelle Reinelt）给我发了一封邮件，说："珍，我觉得你应该申请成为《戏剧杂志》的联合编辑。"我说："哇，谢谢你。这是个好主意。总有一天我会做的"珍妮尔说，"不，趁你现在还有精力"所以我要感谢珍妮尔让我有了这种联系。除了能与同事们进行这些美妙的对话之外，我还喜欢我的编辑经历，那就是能阅读大量的作品；你真的会觉得你的手指已经触摸到了当前学术研究的脉搏，能做到这一点真的很令人振奋。我还觉得，撰写编辑评论需要一种与众不同的写作方式：你直接面对读者，代表期刊写作。撰写这些社论评论是一项非同寻常的工作。每年有两期通刊和两期特刊，我花了很长时间考虑特刊的重点是什么，编辑也是这样做的。其中两期，即第一期和最后一期，直接源于我自己的工作；我以拉丁美洲戏剧特刊作为开端，因为这是我的名片，也是我采取地区立场的机会，最后我以戏剧翻译特刊作为结束，这也是我工作和生活的空间。我编辑的另外两期特刊在研究方面还不一定是我投入的主题，不过后来我投入了，所以我编辑了一期关于听觉戏剧的特刊，然后又编辑了一期关于通过戏剧理论化全球化的特刊。听觉戏剧特刊源于一次谈话......

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