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Making Broadway Dance by Liza Gennaro, and: Embodied Nostalgia: Early Twentieth Century Social Dance and The Choreographing of Broadway Musical Theatre by Phoebe Rumsey (review)
IF 0.5 3区 艺术学 0 THEATER Pub Date : 2025-01-28 DOI: 10.1353/tj.2024.a950312
Ray Miller
<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>Making Broadway Dance</em> by Liza Gennaro, and: <em>Embodied Nostalgia: Early Twentieth Century Social Dance and The Choreographing of Broadway Musical Theatre</em> by Phoebe Rumsey <!-- /html_title --></li> <li> Ray Miller </li> </ul> <em>MAKING BROADWAY DANCE</em>. By Liza Gennaro. New York: Oxford University Press, 2022; pp. 239. <em>EMBODIED NOSTALGIA: EARLY TWENTIETH CENTURY SOCIAL DANCE AND THE CHOREOGRAPHING OF BROADWAY MUSICAL THEATRE</em>. By Phoebe Rumsey. Routledge Advances in Theatre & Performance Studies Series. London: Roudedge, 2024; pp. 241. <p>While there has been an increasing number of excellent articles on aspects of musical theatre dance in recent years, there are few overall histories on dance in the US American musical, let alone histories that interrogate the dances themselves in substantive ways. The first was Richard Kislan's <em>Hoofing on Broadway: A History of Show Dancing</em> (1987), then Robert Emmet Long's <em>Broadway, the Golden Years: Jerome Robbins and the Great Choreographer-Directors, 1940 to the Present</em> (2001), and now, Liza Gennaro's <em>Making Broadway Dance</em> has arrived some twenty years later. Throughout this same period, there have been excellent overview musical theatre histories written by historians from Gerald Bordman and Ethan Mordden to Sheldon Patinkin and Larry Stempel. Many other scholars have offered in-depth critiques and theorizations of musical theatre, such as Scott Miller, Scott McMillin, Jack Viertel, Raymond Knapp, John Bush Jones, and Bruce Kirle. In other words, there is hardly a paucity of musical theatre history scholarship generally.</p> <p>Since the 1980s, there have been numerous articles on dance in specific musicals and on the work of selected choreographers in publications like <em>Studies in Musical Theatre, Theatre Journal</em>, and <em>Dance Research Journal</em>. There have also been important book-length examinations on the work of selected choreographers like Glenn Loney's <em>Unsung Genius: The Passion of Dancer-Choreographer Jack Cole</em> (1984), Deborah Jowitt's <em>Jerome Robbins: His Life, His Theater, His Dance</em> (2004), John Anthony Gilvey's <em>Before the Parade Passes By: Gower Champion and the Glorious American Musical</em> (2005), Kara Anne Gardner's <em>Agnes De Mille: Telling Stories in Broadway Dance</em> (2016), and Kevin Winkler's <em>Big Deal: Bob Fosse and Dance in the American Musical</em> (2018). While not as frequent, there are also examples of dancer-choreographers writing their own autobiographies, including Agnes de Mille's landmark <em>Dance to the Piper</em> (1951), Tommy Tune's <em>Footnotes: A Memoir</em> (1997), Donald McKayle's <em>Transcending Boundaries: My Dancing Life</em> (2002), and Bob Avian and Tom Santopietro's <em>Dancing Man: A Broadway Choreographer's Journey</
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引用次数: 0
Starring Women: Celebrity, Patriarchy, And American Theater, 1790-1850 by Sara E. Lampert (review)
IF 0.5 3区 艺术学 0 THEATER Pub Date : 2025-01-28 DOI: 10.1353/tj.2024.a950316
J. K. Curry
<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>Starring Women: Celebrity, Patriarchy, And American Theater, 1790-1850</em> by Sara E. Lampert <!-- /html_title --></li> <li> J. K. Curry </li> </ul> <em>STARRING WOMEN: CELEBRITY, PATRIARCHY, AND AMERICAN THEATER, 1790-1850</em>. By Sara E. Lampert. Women, Gender and Sexuality in American History Series. Urbana: University of Illinois Press, 2020; pp. 276. <p>The development of the star system and expansion of theatrical markets in the early nineteenth-century United States provided a new economic opportunity for a number of performers drawn from the London stage and elsewhere in Europe. Demand for itinerant stars grew to the point that homegrown talent also found an opening. In <em>Starring Women: Celebrity, Patriarchy, and American Theater, 1790-1850</em>, Sara E. Lampert focuses her attention on the women who booked starring engagements in this period. Like their male counterparts, women were drawn to itinerant starring in pursuit of potential rewards, including high income, enhanced reputations, and greater control of their repertoire. However, women faced significant challenges to succeeding in this arena.</p> <p>Beyond considering the difficulties starring women faced in negotiating contracts with male managers or maintaining the approval of male critics, Lampert argues the experiences of starring women illuminate the patriarchal organization of the US in the late eighteenth and nineteenth centuries. The circumstances of individual female performers varied, but their careers were impacted by issues unlikely to affect male stars, including the hardship of traveling as an unmarried woman or expectations that a father or husband would control business arrangements. Further, Lampert explores the ways starring women navigated an emerging celebrity culture and participated in the creation of a new middle-class and female theatre audience. Both as stars and audience members, women's activities were informed by the respectability politics of the day, with starring women helping make contested theatre spaces more hospitable to a certain class of white female spectator. At the same time, starring women, especially during the 1820s and '30s, embodied the contradictions of being women with high visibility careers while serving as champions of an ideal of domestic femininity. Female celebrities attempted to maintain a suitable public image within narrow bounds of respectability, with serious risk of suffering career damage from malicious gossip or exposure of their private lives.</p> <p><em>Starring Women's</em> organization is thematic and roughly chronological. Chapter 1, "Between Stock and Star: Theater and Touring in the United States, 1790-1830," considers the career strategies of several women, including Anne Brunton Merry, Agnes Holman, Lydia Kelly, Clara Fisher, and Mary Ann Duff, <strong>[End
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引用次数: 0
Grief Capital, Grief Activism: The Brief Life of Mamie Till Bradley's NAACP Tour
IF 0.5 3区 艺术学 0 THEATER Pub Date : 2025-01-28 DOI: 10.1353/tj.2024.a950293
Rhaisa Kameela Williams

Abstract:

In 1955, Mamie Till Bradley spoke throughout the country on behalf of the National Association for the Advancement of Colored People (NAACP) to bring justice to her recently murdered son, Emmett Till. While most scholarship focuses on Bradley's choice to publicize her son's mutilated body, I analyze her understudied NAACP-sponsored grief tour and her ensuing public fallout with the organization. Focusing on her attempts to create an infrastructure of care and compensation for herself, I forward the concept of grief capital to demonstrate how Black women and institutions make decisions based on the financial substrates of Black maternal grief.

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引用次数: 0
Performing Radical Care: The Muslim Grandmothers of Shaheen Bagh
IF 0.5 3区 艺术学 0 THEATER Pub Date : 2025-01-28 DOI: 10.1353/tj.2024.a950295
Alisha Ibkar

Abstract:

On December 15, 2019, a group of elderly women from a Muslim ghetto on the outskirts of New Delhi came out in protest of the police brutalities against minority students who were resisting the recently passed Citizenship Amendment Act (CAA). Despite the widespread attention it received, the protest eluded attempts to understand it fully within both popular and academic discursive frameworks. Such incomprehensibility, this essay argues, stems from a disavowal of the protest's fundamental organizational principle: care. This essay brings scholarship on political performance in conversation with feminist care studies in order to look at how grandmothers reproduce their quotidian actions of care as radical performance.

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引用次数: 0
Si|embrando Life and Sowing Care: Refusing Gentrification on West Jefferson Boulevard
IF 0.5 3区 艺术学 0 THEATER Pub Date : 2025-01-28 DOI: 10.1353/tj.2024.a950296
Irvin Manuel Gonzalez

Abstract:

This essay theorizes Latine maneras de ser (ways of being) as care through an analysis of si|embra, a 2021 collaborative performance and dance event cultivated between various Latine artists and the residents who live and own businesses on West Jefferson Boulevard in Los Angeles. I examine the gossip, partying, and dancing of folx on the block during the planning and presentation of si|embra to consider how performances of Latinidad are engaged to claim their right to exist in the present amid the ongoing effects of gentrification. In so doing, I highlight how care is communally crafted in ways that queer the neoliberal city and refuse banishment.

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引用次数: 0
Ibsen's Ghost: An Irresponsible Biographical Fantasy by Charles Busch (review)
IF 0.5 3区 艺术学 0 THEATER Pub Date : 2025-01-28 DOI: 10.1353/tj.2024.a950309
Benjamin Gillespie
<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>Ibsen's Ghost: An Irresponsible Biographical Fantasy</em>by Charles Busch <!-- /html_title --> </li> <li> Benjamin Gillespie </li> </ul> <em>IBSEN'S GHOST: AN IRRESPONSIBLE BIO-GRAPHICAL FANTASY</em>. By Charles Busch. Directed by Carl Andress. Primary Stages, 59E59 Theaters, New York. 03 <day>3</day>, 2024. <p>Not to be confused with Ibsen's <em>Ghosts, Ibsen's Ghost</em>—sardonically advertised as "the play Ibsen never wrote!"—was exactly what it promised in its subtitle: an irresponsible biographical fantasy of Ibsen's life. This is a revisionist history play that treats its subject matter with admiration along with a heavy dose of camp schtick. In <em>Ibsen's Ghost</em>, playwright Charles Busch draws out the humor already extant in Ibsen's serious dramas of social conscience to the delight of audiences while also retaining the sensibility of an Ibsen play with its characteristic exposition and well-made structure.</p> <p>An iconic performer and female impersonator, Busch has long been a staple of New York's downtown theatre scene. He has written and starred in more than twenty-five plays, including <em>The Divine Sister, The Lady in Question</em>, and <em>Vampire Lesbians of Sodom</em>(one of the longest-running plays in off-Broadway history). Busch pulls from an extensive knowledge of theatre history, canonical plays, and Hollywood film to write and perform satiric, melodramatic fictions that position Busch himself as the leading lady. To this point, in 2023, Busch released his much-anticipated <em>Leading Lady: A Memoir of a Most Unusual Boy</em>, which documents his upbringing and history as a performer in exquisite detail (including an audiobook version recorded by Busch himself).</p> <p>As a female impersonator, Busch has been unmatched since the early days of Charles Ludlam's Ridiculous Theatrical Company. Inspired by Ludlam's performances of strong female protagonists, Busch takes seriously his portrayals of these roles (tellingly, the understudy for Busch's role in <em>Ibsen's Ghost</em>was actress Kate Hampton). Unlike performers in traditional drag, Busch wants to be taken seriously as a female actor, rather than simply undermining or satirizing the women he plays: he wants them to be perceived respectfully even at their most ridiculous moments. This context is important for <em>Ibsen's Ghost</em>: while Busch certainly wants to be funny, he also wants to find the real emotional life of his character, Ibsen's widow Susannah. Significantly, Busch is also much more attendant to Ibsen's actual biography than Cole Escola is about Mary Todd Lincoln in the blockbuster hit <em>Oh, Mary!</em>While not all details are accurate, Busch makes an effort to be moderately close to the truth. In contrast, Escola regularly claims they did "less than no research" on Lincoln, demonstrating their rela
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引用次数: 0
Active Analysis by Maria Knebel, and: Analysis Through Action For Actors And Directors: From Stan-Islavsky To Contemporary Performance by David Chambers (review)
IF 0.5 3区 艺术学 0 THEATER Pub Date : 2025-01-28 DOI: 10.1353/tj.2024.a950315
David Krasner
<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>Active Analysis</em> by Maria Knebel, and: <em>Analysis Through Action For Actors And Directors: From Stan-Islavsky To Contemporary Performance</em> by David Chambers <!-- /html_title --></li> <li> David Krasner </li> </ul> <em>ACTIVE ANALYSIS</em>. By Maria Knebel. Compiled and edited by Anatoli Vassiliev. Translated by Irina Brown. London: Routledge, 2021; pp. 260. <em>ANALYSIS THROUGH ACTION FOR ACTORS AND DIRECTORS: FROM STAN-ISLAVSKY TO CONTEMPORARY PERFORMANCE</em>. By David Chambers. London: Routledge, 2024; pp. 316. <p>Konstantin Stanislavsky is one of the most influential acting teachers of the twentieth century. Yet, despite his significance and his death over eighty years ago in 1938, new facets of his teachings are still being uncovered. The miasma surrounding Stanislavsky is due to Soviet censorship, the vagaries of translation, and the fact that during his life Stanislavsky reevaluated his theory and practice of actor training. We now know, for instance, that during his final years, Stanislavsky revised his methodology, coalescing around a new theory termed in English as "active analysis" or "analysis through action." Previously, active analysis/analysis through action (AA) was dubbed "the method of physical action," a term Stanislavsky did not use but that derived from actor Vasili Toporkov, Stanislavsky's student at the Moscow Art Theatre. In his book <em>Stanislavsky in Rehearsal</em>, Toporkov coined the English variation of the term. The method of physical action was then promulgated by Stalinist ideologues and acting teachers who believed that this training procedure nullified Stanislavsky's earlier techniques, most notably Stanislavsky's "affective memory" (the term describing emotional recall). Claiming that Stanislavsky created two "periods" of work—dubbed "Early and Late"—advocates of the method of physical action argued that Stanislavsky's Late period rejected affective memory <em>tout court</em> in favor of mechanical physicality, which alone was deemed the cornerstone of Stanislavsky's System. The doyen of Method Acting, Lee Strasberg, was demonized as the arbiter of the supposedly regressive affective memory, and the phrase "do the action first and the feelings will follow" lodged into acting training's collective consciousness.</p> <p>These two books, <em>Active Analysis</em> (2021) by Maria Knebel and Analysis <em>through Action for Actors and Directors: From Stanislavsky to Contemporary Performance</em> (2024) by David Chambers, set the record straight. Knebel, one of Stanislavsky's students, and Chambers, an acting teacher and historian of Russian theatre, each provide detailed analyses of Stanislavsky's final working method, one that never abandoned the actor's task of personalizing, experiencing, and humanizing the role. Instead of dividing Stanislavsky into two
{"title":"Active Analysis by Maria Knebel, and: Analysis Through Action For Actors And Directors: From Stan-Islavsky To Contemporary Performance by David Chambers (review)","authors":"David Krasner","doi":"10.1353/tj.2024.a950315","DOIUrl":"https://doi.org/10.1353/tj.2024.a950315","url":null,"abstract":"&lt;span&gt;&lt;span&gt;In lieu of&lt;/span&gt; an abstract, here is a brief excerpt of the content:&lt;/span&gt;\u0000&lt;p&gt; &lt;span&gt;Reviewed by:&lt;/span&gt; &lt;ul&gt; &lt;li&gt;&lt;!-- html_title --&gt; &lt;em&gt;Active Analysis&lt;/em&gt; by Maria Knebel, and: &lt;em&gt;Analysis Through Action For Actors And Directors: From Stan-Islavsky To Contemporary Performance&lt;/em&gt; by David Chambers &lt;!-- /html_title --&gt;&lt;/li&gt; &lt;li&gt; David Krasner &lt;/li&gt; &lt;/ul&gt; &lt;em&gt;ACTIVE ANALYSIS&lt;/em&gt;. By Maria Knebel. Compiled and edited by Anatoli Vassiliev. Translated by Irina Brown. London: Routledge, 2021; pp. 260. &lt;em&gt;ANALYSIS THROUGH ACTION FOR ACTORS AND DIRECTORS: FROM STAN-ISLAVSKY TO CONTEMPORARY PERFORMANCE&lt;/em&gt;. By David Chambers. London: Routledge, 2024; pp. 316. &lt;p&gt;Konstantin Stanislavsky is one of the most influential acting teachers of the twentieth century. Yet, despite his significance and his death over eighty years ago in 1938, new facets of his teachings are still being uncovered. The miasma surrounding Stanislavsky is due to Soviet censorship, the vagaries of translation, and the fact that during his life Stanislavsky reevaluated his theory and practice of actor training. We now know, for instance, that during his final years, Stanislavsky revised his methodology, coalescing around a new theory termed in English as \"active analysis\" or \"analysis through action.\" Previously, active analysis/analysis through action (AA) was dubbed \"the method of physical action,\" a term Stanislavsky did not use but that derived from actor Vasili Toporkov, Stanislavsky's student at the Moscow Art Theatre. In his book &lt;em&gt;Stanislavsky in Rehearsal&lt;/em&gt;, Toporkov coined the English variation of the term. The method of physical action was then promulgated by Stalinist ideologues and acting teachers who believed that this training procedure nullified Stanislavsky's earlier techniques, most notably Stanislavsky's \"affective memory\" (the term describing emotional recall). Claiming that Stanislavsky created two \"periods\" of work—dubbed \"Early and Late\"—advocates of the method of physical action argued that Stanislavsky's Late period rejected affective memory &lt;em&gt;tout court&lt;/em&gt; in favor of mechanical physicality, which alone was deemed the cornerstone of Stanislavsky's System. The doyen of Method Acting, Lee Strasberg, was demonized as the arbiter of the supposedly regressive affective memory, and the phrase \"do the action first and the feelings will follow\" lodged into acting training's collective consciousness.&lt;/p&gt; &lt;p&gt;These two books, &lt;em&gt;Active Analysis&lt;/em&gt; (2021) by Maria Knebel and Analysis &lt;em&gt;through Action for Actors and Directors: From Stanislavsky to Contemporary Performance&lt;/em&gt; (2024) by David Chambers, set the record straight. Knebel, one of Stanislavsky's students, and Chambers, an acting teacher and historian of Russian theatre, each provide detailed analyses of Stanislavsky's final working method, one that never abandoned the actor's task of personalizing, experiencing, and humanizing the role. Instead of dividing Stanislavsky into two ","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"27 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2025-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143054819","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}
引用次数: 0
The Theatre of Christopher Durang by Miriam M. Chirico (review) 克里斯托弗-杜朗的戏剧》,作者 Miriam M. Chirico(评论)
IF 0.5 3区 艺术学 0 THEATER Pub Date : 2024-11-15 DOI: 10.1353/tj.2024.a943417
Amy S. Osatinski
<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 Theatre of Christopher Durang</em> by Miriam M. Chirico <!-- /html_title --></li> <li> Amy S. Osatinski </li> </ul> <em>THE THEATRE OF CHRISTOPHER DURANG</em>. By Miriam M. Chirico. Methuen Drama Critical Companions. London: Bloomsbury Methuen Drama, 2020; pp. 234. <p>Christopher Durang's works have opened on Broadway, and he's won the Tony Award for Best Play and been nominated for the Tony Award for Best Book of a Musical. Additionally, he was a Pulitzer Prize finalist. Yet, as Miriam Chirico points out, "very little scholarship exists about Durang's theatrical oeuvre, considering the vast amount of plays he's contributed to the American theatre repertory" (214). In <em>The Theatre of Christopher Durang</em>, she begins to remedy this omission by attempting to provide comprehensive coverage of the playwright's work in a single volume.</p> <p>In the introduction, Chirico weaves together biographical facts and anecdotes with examples from Durang's plays, illustrating instances where his life visibly influenced his work. This setup promises further exploration into the connection between the playwright's life and his plays. This is an exciting prospect, given Durang's background as a queer former Catholic––two identities that notably shape his plays. Following the introduction, however, the book shifts its focus and prioritizes the themes of the plays above their connection to the author's identities, diverting from the initial promise of a deeper exploration into how Durang's personal background influences his work.</p> <p>The introduction also serves as a primer on the genre of Dark Comedy, offering a framework for understanding Durang's plays through their comedic structure. This exploration proves fruitful and necessary for contextualizing the plays, as most of Durang's work is characterized by its wild humor along with elements of the grotesque, darkness, and offense. Comedic theory is a welcome framework for further exploration when Durang's œuvre is examined collectively, and its consistent inclusion throughout the rest of the text would have strengthened the volume even more.</p> <p>The body of the text is organized thematically, grouping plays into five categories across five chapters. Chapter 1, "Perverting the Classics," examines Durang's plays that parody classic works of literature and drama. Chirico observes that Durang often deliberately "misreads" his source material, resulting in "an all-out war, a barbaric yawp in the stoic face the classics" (21). Rather than approaching his parodies with reverence or homage, Durang tears them apart and the results are "riotously funny" (21). The chapter analyzes several of Durang's parodies, uncovering his penchant for "joyful bloodletting" of the classic works he targets (22).</p> <p>Chapters 2, 4, and 5 continue to analyze Durang's works
以下是内容的简要摘录,以代替摘要:评论者 克里斯托弗-杜朗的戏剧》,作者米里亚姆-M-奇里科 Amy S. Osatinski 克里斯托弗-杜朗的戏剧。作者:Miriam M. Chirico。Methuen Drama Critical Companions.伦敦:Bloomsbury Methuen Drama,2020 年;第 234 页。克里斯托弗-杜朗的作品曾在百老汇上演,他曾获得托尼奖最佳戏剧奖和托尼奖最佳音乐剧图书提名。此外,他还曾入围普利策奖决赛。然而,正如米里亚姆-奇里科(Miriam Chirico)所指出的,"考虑到杜朗为美国戏剧剧目做出的巨大贡献,关于他戏剧作品的学术研究却少之又少"(214)。在《克里斯托弗-杜朗的戏剧》一书中,她开始弥补这一缺失,试图在一本书中全面介绍这位剧作家的作品。在引言中,基里科将杜朗的生平事迹和轶事与杜朗剧作中的例子编织在一起,说明了杜朗的生活对其作品产生明显影响的事例。这一设置有望进一步探索剧作家的生平与其戏剧之间的联系。考虑到杜朗曾是一名同性恋天主教徒的背景--这两种身份显著地影响了他的戏剧,这一前景令人兴奋。然而,在引言之后,该书转移了重点,将戏剧主题置于与作者身份的联系之上,偏离了最初深入探讨杜朗的个人背景如何影响其作品的承诺。该书的导言还充当了 "黑暗喜剧 "这一流派的入门读物,为通过喜剧结构理解杜朗的戏剧提供了一个框架。事实证明,这种探索是富有成果的,也是了解杜朗剧作背景所必需的,因为杜朗的大部分作品都具有狂野幽默的特点,同时还融入了怪诞、黑暗和冒犯等元素。在对杜朗的作品进行整体研究时,喜剧理论是一个值得进一步探讨的框架,如果能将这一理论贯穿于文本的其余部分,将会使该书更加充实。正文按主题组织,将戏剧分为五类,共五章。第一章 "篡改经典 "探讨了杜朗模仿经典文学和戏剧作品的剧本。基里科注意到,杜朗经常故意 "误读 "他的素材,结果导致 "一场全面战争,在经典的坚毅面孔上打着野蛮的呵欠"(21)。杜朗不是以崇敬或敬意的态度来对待他的戏仿作品,而是将它们撕成碎片,其结果是 "令人啼笑皆非"(21)。本章分析了杜朗的几部模仿作品,揭示了他对自己所模仿的经典作品 "快乐放血 "的嗜好(22)。第 2、4 和 5 章继续从主题角度分析杜朗的作品:第 2 章 "求是 "探讨宗教主题;第 4 章 "家庭功能失调 "探讨婚姻和家庭;第 5 章 "美国式反常 "讨论与美国文化有关的作品。每一章都揭示了杜朗戏剧对文化机构进行 "欢乐放血 "的方式,这与他对文学经典进行嘲讽的方式类似。奇里科观察到,天主教会、美国家庭和媒体都被杜朗置于喜剧显微镜下。这几章详细讨论了杜朗的几部剧作,敏锐地观察到杜朗的个人经历对其创作的影响。例如,第 4 章开篇简明扼要地讨论了 20 世纪中期盛行的有关美国家庭的宣传,然后简要地将杜朗在那个时代的成长经历与他的几部剧作联系起来。在第 3 章中,讨论转向杜朗的众多独幕剧,包括对其 20 世纪 90 年代早期夜总会表演《克里斯托弗-杜朗与道恩》的探讨。值得注意的是,这一章的内容最为广泛,涵盖了其他章节所探讨的所有主题。然而,由于内容[第403页完]的广泛性,对所提及的短剧都没有进行深入研究。这一章中的剧作本身就可以写满一整本书,凸显了杜朗对美国短剧流派的广泛影响。与 Methuen 的 Critical Companions 系列中的所有书籍一样,《克里斯托弗-杜朗的戏剧》也从两个批评角度对其主题作品进行了评述,这一次...
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引用次数: 0
A Grammar of Abolition: Black Theatrical Geographies 废奴文法》:黑人戏剧地理学
IF 0.5 3区 艺术学 0 THEATER Pub Date : 2024-11-15 DOI: 10.1353/tj.2024.a943404
Leticia L. Ridley

Abstract:

Black theatremakers have utilized performance to imagine and stage an alternative place where policing is abolished. They usurp the normative theatrical apparatuses to enact countergeographies that become meaningful ways to resist social control. In so doing, they inhabit (and push other artists and audiences to inhabit) theatre differently through transforming the geography of the theatre itself. Dominique Morisseau, Erika Dickerson-Despenza, Aleshea Harris, and Jordan Cooper urge us to see how their spatial construction is central to nourishing and emphasizing Black ways of knowing and being in the theatre. Through their dramaturgical structures within and beyond the plays themselves, I argue that these artists also consider how theatrical space can be manipulated to create alternative rules of engagement whereby blackness can be negotiated, produced, and known on different terms that the carceral system may dictate. In the broadest sense, I advocate for critical attention to the intersections of abolition, space, and Black theatre. This essay is about how space functions as a theatrical apparatus of anti-Black exclusion while also serving as the canvas for Black artists to revolt within, against, and in the face of anti-Black terror.

摘要:黑人剧作家利用表演来想象和上演一个废除治安的替代场所。他们篡夺了规范的戏剧机构,创造了反地理环境,成为抵制社会控制的有意义的方式。在此过程中,他们通过改变剧场本身的地理环境,以不同的方式栖息于剧场(并推动其他艺术家和观众栖息于剧场)。多米尼克-莫里索(Dominique Morisseau)、艾丽卡-迪克森-德斯彭扎(Erika Dickerson-Despenza)、阿莱西亚-哈里斯(Aleshea Harris)和乔丹-库珀(Jordan Cooper)敦促我们看到,他们的空间构造是如何滋养和强调黑人在剧场中的认知和存在方式的。我认为,这些艺术家还通过他们在剧作内部和剧作之外的戏剧结构,考虑如何操纵戏剧空间来创造另一种参与规则,从而以不同于监禁制度可能规定的条件来协商、生产和认识黑人。从最广泛的意义上讲,我主张批判性地关注废奴、空间和黑人戏剧的交集。这篇文章讲述了空间如何充当反黑人排斥的戏剧工具,同时又如何充当黑人艺术家在反黑人恐怖中反抗、反对和面对反黑人恐怖的画布。
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引用次数: 0
Decarcerating the University: A Roundtable Discussion 大学去监禁化:圆桌讨论
IF 0.5 3区 艺术学 0 THEATER Pub Date : 2024-11-15 DOI: 10.1353/tj.2024.a943394
Courtney Erin Colligan, Aaron Moore Ellis, Nicholas Fesette, Donatella Galella, Megan E. Geigner, Lindsay Livingston, Ariel Nereson, Leticia L. Ridley, Misty Saribal
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span><p> <ul> <li><!-- html_title --> Decarcerating the University:<span>A Roundtable Discussion</span> <!-- /html_title --></li> <li> Courtney Erin Colligan (bio), Aaron Moore Ellis (bio), Nicholas Fesette (bio), Donatella Galella (bio), Megan E. Geigner (bio), Lindsay Livingston (bio), Ariel Nereson, Leticia L. Ridley (bio), and Misty Saribal (bio) </li> </ul> <p>This roundtable discussion took place on Zoom on June 6, 2024, and grew out of the learning that I have experienced through the collective work of the voices assembled here: through various gatherings and actions, often at the Association for Theatre in Higher Education (ATHE) conference, this group of scholar-artist-activists has pushed our field to directly engage with the concerns of abolition and decarceration. Their <u>Zine</u>, included in this issue's Online Section, offers theatre, dance, and performance studies direct actions as well as philosophical inspiration for decarcerating our campuses, classrooms, and studios, and relations with one another and our own minds. I encourage readers to consult the <u>Zine</u> in their research, teaching, and community engagement efforts toward abolition. This roundtable is a way for those conversations to continue and to respond to ongoing crises and current world affairs. —Ariel Nereson, <em>Theatre Journal</em> coeditor</p> Misty Saribal (MS): <p>Our first question is, how can performance studies contribute to what contemporary abolition elders are calling for, which is the abolition of campus police and any ties to the prison industrial complex? I'm thinking about Davarian Baldwin when he talks about how higher ed campuses should be ground zero for police abolition, in part, he argues, because some campuses have the newest police departments, and some of them still do not [have police departments].<sup>1</sup> However, we're presently seeing, with the campus Palestinian BDS solidarity demonstrations and encampments, the unfinished but necessary Cops Off Campus movement, which is a great group that I have been involved with. And when I see [list(s) like] Eight Actions to Grow Abolition,<sup>2</sup> I always want to add to the list—make friends with people in the arts and theatre departments! We have great props, we know how to stage protests, direct chants, perform and communicate in live, spectacular, and impactful ways.</p> <p>I want to start with an example of how performance and theatre contribute meaningfully to these abolition movements in material ways, to ponder how our skills might help with campus abolition movements. To get to my example, we did a disorientation <strong>[End Page E-1]</strong> tour on Louisiana State University's campus before the pandemic, and we happened to just randomly find in the prop closet a giant black wooden coffin that said, "RIP Education." And I decided everyone on the tour should carry this giant coffin around whi
以下是内容的简要摘录,以代替摘要: 解禁大学:圆桌讨论 Courtney Erin Colligan(简历)、Aaron Moore Ellis(简历)、Nicholas Fesette(简历)、Donatella Galella(简历)、Megan E. Geigner(简历)、Lindsay Livingston(简历)、Ariel Nereson、Leticia L. Ridley(简历)和 Misty Saribal(简历)。这次圆桌讨论于 2024 年 6 月 6 日在 Zoom 上举行,是我从在座各位的集体工作中学习到的。通过各种聚会和行动,通常是在高等教育戏剧协会(ATHE)会议上,这群学者-艺术家-活动家推动了我们的领域直接参与废除死刑和非监禁的关注。他们的 Zine 刊载于本期的在线版块,为戏剧、舞蹈和表演研究提供了直接行动以及哲学启发,使我们的校园、教室、工作室以及人与人之间的关系和我们自己的思想去监禁化。我鼓励读者在研究、教学和社区参与中参考《Zine》,努力废除监禁。本圆桌会议是继续这些对话的一种方式,也是对当前危机和世界事务做出回应的一种方式。阿里尔-内里森(Ariel Nereson),《戏剧杂志》联合编辑 米斯蒂-萨里巴尔(Misty Saribal)(以下简称 MS):我们的第一个问题是,表演研究如何为当代废除死刑的长老们所呼吁的废除校园警察以及与监狱工业综合体的任何联系做出贡献?我想到了达瓦里安-鲍德温(Davarian Baldwin),他谈到高等教育校园应该是废除警察的原点,他认为,部分原因是有些校园拥有最新的警察部门,而有些校园仍然没有[警察部门]1。然而,我们目前看到的是,随着校园巴勒斯坦BDS声援示威和营地的建立,未完成但必要的 "警察离开校园 "运动,这是一个伟大的团体,我一直参与其中。当我看到[发展废奴的八项行动2]这样的清单时,我总想在清单上再加一条--与艺术和戏剧系的人交朋友!我们有很好的道具,我们知道如何以现场、壮观和有影响力的方式举行抗议、指挥诵经、表演和交流。我想先举例说明表演和戏剧如何以物质方式为这些废奴运动做出有意义的贡献,并思考我们的技能可以如何帮助校园废奴运动。说到我的例子,在大流行病发生之前,我们在路易斯安那州立大学的校园里做了一次迷失方向 [End Page E-1]的巡演,我们碰巧在道具柜里发现了一个巨大的黑色木棺,上面写着 "RIP Education"。我决定,当我们参观校园中与奴隶制、军事、性别歧视、异性恋、种族主义、残障主义和资本主义剥削有关的区域时,参观团的每个人都应该抬着这个巨型棺材四处走动。我敢肯定,如果这次迷失之旅的负责人是美国研究系、哲学系或生物系,就不会有这样的奇观和对校园现状的破坏。所以,你可以从很多不同的角度来看待这个问题,但我想把这个问题提出来,因为有时在 "传统组织 "中,对反戏剧性的方法存在偏见,这是非常遗憾的。Ariel Nereson (AN):你在与我们分享时使用的语言让我想到了反戏剧化的偏见,也让我想到了当前 "表演性"(performative)的流传,以及它作为一种缺乏真正投入的东西的含义,当然,这与很多校园组织活动所要表达的意思恰恰相反。我知道梅雷迪思-孔蒂(Meredith Conti)曾写过一篇关于高中生应对枪支暴力的批评文章,并称之为危机行动者,所以我认为这种语言非常重要,我们要知道如何使用它。莱蒂西亚-雷德利(Leticia Ridley):我认为,如果我们具体看一下美国的抗议传统,我就会想到黑豹党之类的组织,想到他们是如何穿着特定的服装参加抗议活动的,想到枪既是道具也是工具,但也会想到戏剧语言是如何一直与这些运动中的抗议结合在一起的,想到我们如何才能迎来......
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