<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>Ron Vawter's Life In Performance</em> by Theresa Smalec <!-- /html_title --></li> <li> Sean F. Edgecomb </li> </ul> <em>RON VAWTER'S LIFE IN PERFORMANCE</em>. By Theresa Smalec. London: Seagull Books, 2020; pp. 222. <p>Relying on impressive archival research and original interviews to present "a social history—and ensemble biography" (3), author Theresa Smalec provides a dynamic new account of US actor Ron Vawter (1948-94) that deftly corrects the claims of previous scholarship. <em>Ron Vawter's Life in Performance</em> decisively traces the career and personal life of the titular artist who rose to fame as a member of downtown New York theatre troupes, The Performance Group and The Wooster Group, from the 1970s to the early 1990s. Over a perhaps too economic <strong>[End Page 590]</strong> introduction and eight subsequent chapters, Smalec's intervention corroborates Vawter's importance as a performer—one who has been eclipsed by his more famous collaborators like Willem Defoe, Spalding Gray, Elizabeth LeCompte, and Richard Schechner—and challenges the longstanding myth surrounding Vawter's life that he "ostensibly came from nowhere" (9). While the narrative presented is linear, Smalec expertly (and even queerly) writes across time, creating a complex constellation of Vawter's career rather than a chronological biography.</p> <p>The opening chapter proves Smalec's research prowess, diving into Vawter's previously unrecorded history before he joined The Performance Group in 1972. Relying on original interviews, the author traces Vawter's origins in the theatre back to high school and the period he spent as an undergraduate at Siena College starting in 1967. Directing and acting in queer-themed plays such as Edward Albee's <em>The Zoo Story</em> and John Herbert's <em>Fortune in Men's Eyes</em>, Vawter developed an interest in queer performance, Smalec corroborates, that preceded his work in the Manhattan avant-garde theatre scene. While Smalec's account, like previous biographies, confirms that Vawter was enrolled in a Franciscan training program and commissioned into the National Guard, she argues these experiences have been overblown in other biographical accounts.</p> <p>Chapters 2 and 3 continue to correct the narrative around Vawter's introduction to The Performance Group, his initial time with the group, and his work as the company's general manager. In addition to her archival research and interviews, Smalec describes her embodied methods in these chapters. For instance, to argue against the myth that Vawter stumbled upon a rehearsal when walking home from a military recruiting station at 80 Center Street in 1972, she takes to the streets in an attempt to recreate Vawter's commute, proving that it most likely never happened. She likewise offers a close reading of Vawter's "stealth" perform
{"title":"Ron Vawter's Life In Performance by Theresa Smalec (review)","authors":"Sean F. Edgecomb","doi":"10.1353/tj.2024.a950320","DOIUrl":"https://doi.org/10.1353/tj.2024.a950320","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>Ron Vawter's Life In Performance</em> by Theresa Smalec <!-- /html_title --></li> <li> Sean F. Edgecomb </li> </ul> <em>RON VAWTER'S LIFE IN PERFORMANCE</em>. By Theresa Smalec. London: Seagull Books, 2020; pp. 222. <p>Relying on impressive archival research and original interviews to present \"a social history—and ensemble biography\" (3), author Theresa Smalec provides a dynamic new account of US actor Ron Vawter (1948-94) that deftly corrects the claims of previous scholarship. <em>Ron Vawter's Life in Performance</em> decisively traces the career and personal life of the titular artist who rose to fame as a member of downtown New York theatre troupes, The Performance Group and The Wooster Group, from the 1970s to the early 1990s. Over a perhaps too economic <strong>[End Page 590]</strong> introduction and eight subsequent chapters, Smalec's intervention corroborates Vawter's importance as a performer—one who has been eclipsed by his more famous collaborators like Willem Defoe, Spalding Gray, Elizabeth LeCompte, and Richard Schechner—and challenges the longstanding myth surrounding Vawter's life that he \"ostensibly came from nowhere\" (9). While the narrative presented is linear, Smalec expertly (and even queerly) writes across time, creating a complex constellation of Vawter's career rather than a chronological biography.</p> <p>The opening chapter proves Smalec's research prowess, diving into Vawter's previously unrecorded history before he joined The Performance Group in 1972. Relying on original interviews, the author traces Vawter's origins in the theatre back to high school and the period he spent as an undergraduate at Siena College starting in 1967. Directing and acting in queer-themed plays such as Edward Albee's <em>The Zoo Story</em> and John Herbert's <em>Fortune in Men's Eyes</em>, Vawter developed an interest in queer performance, Smalec corroborates, that preceded his work in the Manhattan avant-garde theatre scene. While Smalec's account, like previous biographies, confirms that Vawter was enrolled in a Franciscan training program and commissioned into the National Guard, she argues these experiences have been overblown in other biographical accounts.</p> <p>Chapters 2 and 3 continue to correct the narrative around Vawter's introduction to The Performance Group, his initial time with the group, and his work as the company's general manager. In addition to her archival research and interviews, Smalec describes her embodied methods in these chapters. For instance, to argue against the myth that Vawter stumbled upon a rehearsal when walking home from a military recruiting station at 80 Center Street in 1972, she takes to the streets in an attempt to recreate Vawter's commute, proving that it most likely never happened. She likewise offers a close reading of Vawter's \"stealth\" perform","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"28 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2025-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143054835","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>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</
代替摘要，这里是内容的简短摘录：由：莉莎·詹纳罗的《百老汇舞蹈》和菲比·拉姆西·雷·米勒的《体现怀旧：二十世纪早期的社交舞蹈和百老汇音乐剧的编舞》评论。丽莎·詹纳罗著。纽约：牛津大学出版社，2022；239页。体现怀旧：二十世纪早期的交际舞和百老汇音乐剧的编舞。菲比·拉姆齐著。《劳特利奇戏剧进展》性能研究系列。伦敦：罗德奇，2024；241页。近年来，关于音乐剧舞蹈方面的优秀文章越来越多，但美国音乐剧中关于舞蹈的整体历史却很少，更不用说以实质性的方式对舞蹈本身进行质疑的历史了。第一个是理查德·基斯兰的《百老汇的流浪：表演舞蹈的历史》（1987），然后是罗伯特·埃米特·朗的百老汇，黄金年代：杰罗姆·罗宾斯和伟大的编舞导演，1940年至今（2001），现在，丽莎·詹纳罗的《制作百老汇舞蹈》在大约20年后问世。在同一时期，从杰拉尔德·博德曼和伊森·莫登到谢尔登·帕廷金和拉里·斯坦普尔，历史学家们都写了优秀的音乐剧概览史。许多其他学者对音乐剧提出了深入的批评和理论，如斯科特·米勒、斯科特·麦克米林、杰克·维尔特尔、雷蒙德·纳普、约翰·布什·琼斯和布鲁斯·基尔。换句话说，一般来说，音乐剧历史研究并不缺乏。自20世纪80年代以来，在《音乐剧研究》、《戏剧杂志》和《舞蹈研究杂志》等出版物上，出现了大量关于特定音乐剧中的舞蹈和选定编舞家的作品的文章。对入选编舞家的作品也进行了重要的书级考试，如格伦·朗尼的《未被歌颂的天才：舞蹈编舞家杰克·科尔的激情》（1984）、黛博拉·乔维特的《杰罗姆·罗宾斯：他的生活、他的戏剧、他的舞蹈》（2004）、约翰·安东尼·吉尔维的《在游行经过之前：高尔冠军和辉煌的美国音乐剧》（2005）、卡拉·安妮·加德纳的《艾格尼丝·德·米勒：在百老汇舞蹈中讲述故事》（2016）和凯文·温克勒的《大交易》。鲍勃·福斯和舞蹈在美国音乐剧（2018）。虽然不常见，但也有舞蹈编舞家自己写自传的例子，包括阿格尼丝·德·米勒的里程碑式的《对吹笛者的舞蹈》（1951年），汤米·Tune的《脚注：回忆录》（1997年），唐纳德·麦凯勒的《超越界限：我的舞蹈生活》（2002年），以及鲍勃·艾维恩和汤姆·桑托皮耶特罗的《跳舞的人：百老汇编舞家的旅程》（2020年）。然而，很少有书本长度的考试能从更广泛的角度来看待舞蹈对美国音乐剧的贡献。莉莎热内罗是为数不多的“照亮编排和编排的角色在百老汇音乐剧”(8)。从1920年代的舞蹈编导和舞蹈董事的工作像Ned Wayburn,萨米李,西摩Felix,热内罗所得告诉100年的舞蹈在音乐剧的故事,把我们的工作Andy Blankenbuehler Steven Hoggett和卡米尔·a·布朗,在百老汇作品于2020年关闭由于COVID-19大流行。詹纳罗并没有试图详尽地描述这个问题的历史；相反，她会精心挑选对音乐剧舞蹈发展产生深远影响的编舞家的作品，比如Agnes de Mille和Jerome Robbins。她将这些更具开创性的艺术家的独特贡献与那些挑战或扩展他们作品的人并列，如鲍勃·福斯、唐纳德·麦凯勒、格拉西拉·丹尼尔和比尔·t·琼斯。詹纳罗从音乐剧中挑选特定的舞蹈作品，详细说明特定的编舞是如何创作出那件作品的。而俄克拉何马州的梦幻芭蕾必须解剖！她对《布卢默女孩》（Bloomer Girl）的《内战芭蕾舞》（the Civil War Ballet）的考察和语境化，不仅让我们看到了德·米勒这一独特舞蹈的构造，而且预示了一种直到今天仍将继续影响编舞家的方法。虽然她对布卢姆女孩的分析表明了这本书的真正优势，但《百老汇舞蹈》也不是没有缺点。她关于杰罗姆·罗宾斯作品的章节非常详尽，但只有一章专门讨论了……
{"title":"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)","authors":"Ray Miller","doi":"10.1353/tj.2024.a950312","DOIUrl":"https://doi.org/10.1353/tj.2024.a950312","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>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</","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"15 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2025-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143054817","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>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
代替摘要，这里是内容的简短摘录：由：主演女性：名人，父权制，和美国戏剧，1790-1850，由萨拉E.兰伯特J. K.咖喱主演女性：名人，父权制，和美国戏剧，1790-1850。萨拉·e·兰伯特著。美国历史中的女性、性别和性行为系列。厄巴纳：伊利诺伊大学出版社，2020；276页。19世纪初，美国明星制度的发展和戏剧市场的扩大为伦敦和欧洲其他地方的一些演员提供了新的经济机会。对巡回明星的需求不断增长，以至于本土艺人也找到了机会。在《主演女性：名人、父权制和美国戏剧，1790-1850》一书中，萨拉·e·兰伯特将她的注意力集中在这一时期预定主演的女性身上。和男性演员一样，女性也被吸引到巡回演出中，以追求潜在的回报，包括高收入、提高声誉和更好地控制自己的表演。然而，女性在这一领域取得成功面临着重大挑战。兰伯特认为，除了考虑女性主演在与男性经理谈判合同或保持男性评论家的认可方面面临的困难之外，女性主演的经历还揭示了18世纪末和19世纪美国的父权组织。女演员的个人情况各不相同，但她们的事业受到了一些不太可能影响男明星的问题的影响，包括未婚女性旅行的困难，以及对父亲或丈夫控制商业安排的期望。此外，兰伯特还探讨了女性主演如何驾驭新兴的名人文化，并参与创造新的中产阶级和女性戏剧观众。无论是作为明星还是观众，女性的活动都受到当时体面政治的影响，女性主演有助于使竞争激烈的剧院空间对特定阶层的白人女性观众更加友好。与此同时，由女性主演的电影，尤其是在19世纪20年代和30年代，体现了女性既要拥有高知名度的事业，又要成为家庭女性理想的拥护者的矛盾。女明星试图在有限的体面范围内保持合适的公众形象，冒着因恶意八卦或私生活曝光而导致事业受损的严重风险。主演妇女组织是主题和大致按时间顺序。第一章，“在Stock and Star之间：1790-1830年美国的戏剧和巡演”，考虑了几位女性的职业战略，包括安妮·布伦顿·梅里、艾格尼丝·霍尔曼、莉迪亚·凯利、克拉拉·费舍尔和玛丽·安·达夫，她们在这个职业机会刚刚出现的那些年里尝试过主演。这些女演员面临着各种各样的挑战，比如在选择出演“正统”戏剧以外的角色时遭到评论家的反对，包括凯利在情节戏剧中扮演的马裤角色。女性通过巡回主演享受职业独立的机会也可能受到家庭义务和社会期望的限制，即商业事务将由男性处理，详见第二章“（Dis）听话的女儿和忠诚的妻子：股票和明星的家庭政治”。通过玛丽·洛克、艾伦·约翰逊·希尔森、弗朗西丝·丹尼·德雷克、伊丽莎白·布兰查德·汉布林以及费舍尔和霍尔曼的经历，研究了以女儿、单身、已婚或丧偶的成年人为主角的影响。第三章“女性舞台名人的前途与局限：1832-1835年美国范妮·肯布尔”的主题是对一位巡演明星的奉承和随后的诋毁的进一步考察。当范妮·肯布尔（Fanny Kemble）第一次随父亲查尔斯（Charles）来到纽约时，伦敦戏剧大家族的成员出现在美国舞台上，这让她非常兴奋。兰伯特指出，“在一段关于女性参与公共生活的激烈争论时期”（84），肯布尔有潜力吸引有教养的白人女性，并通过她的艺术和个人性格提升了舞台。然而，肯布尔的日记于1835年1月首次出版，泄露的页面导致了对这位作家的迅速抵制，因为她认为特罗洛普式的批评是对她的美国主持人的批评，而且揭露了与精心培养的公众形象不一致的私人想法。
{"title":"Starring Women: Celebrity, Patriarchy, And American Theater, 1790-1850 by Sara E. Lampert (review)","authors":"J. K. Curry","doi":"10.1353/tj.2024.a950316","DOIUrl":"https://doi.org/10.1353/tj.2024.a950316","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>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 ","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":"143054842","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 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.
{"title":"Grief Capital, Grief Activism: The Brief Life of Mamie Till Bradley's NAACP Tour","authors":"Rhaisa Kameela Williams","doi":"10.1353/tj.2024.a950293","DOIUrl":"https://doi.org/10.1353/tj.2024.a950293","url":null,"abstract":"<p><p>Abstract:</p><p>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 <i>grief capital</i> to demonstrate how Black women and institutions make decisions based on the financial substrates of Black maternal grief.</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":"143054799","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}
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.
{"title":"Performing Radical Care: The Muslim Grandmothers of Shaheen Bagh","authors":"Alisha Ibkar","doi":"10.1353/tj.2024.a950295","DOIUrl":"https://doi.org/10.1353/tj.2024.a950295","url":null,"abstract":"<p><p>Abstract:</p><p>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.</p></p>","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":"143054801","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 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.
摘要：本文通过对si b| embra的分析，将拉丁语的maneras de ser（存在方式）作为关怀进行了理论化。si b| embra是2021年由多位拉丁艺术家与洛杉矶西杰斐逊大道上居住和经营企业的居民共同举办的合作表演和舞蹈活动。在《si b| embra》的策划和呈现过程中，我考察了街区上的八卦、派对和舞蹈，以考虑在士绅化的持续影响下，拉丁裔的表演如何被用来主张他们在当下存在的权利。在这样做的过程中，我强调了关怀是如何以一种让新自由主义城市感到奇怪并拒绝被驱逐的方式共同创造出来的。
{"title":"Si|embrando Life and Sowing Care: Refusing Gentrification on West Jefferson Boulevard","authors":"Irvin Manuel Gonzalez","doi":"10.1353/tj.2024.a950296","DOIUrl":"https://doi.org/10.1353/tj.2024.a950296","url":null,"abstract":"<p><p>Abstract:</p><p>This essay theorizes Latine <i>maneras de ser</i> (ways of being) as care through an analysis of <i>si</i>|<i>embra</i>, 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 <i>si</i>|<i>embra</i> 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.</p></p>","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"9 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2025-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143054823","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>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
{"title":"Ibsen's Ghost: An Irresponsible Biographical Fantasy by Charles Busch (review)","authors":"Benjamin Gillespie","doi":"10.1353/tj.2024.a950309","DOIUrl":"https://doi.org/10.1353/tj.2024.a950309","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>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","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"20 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2025-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"143054816","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>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":"<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>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 ","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}
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <ul> <li><!-- html_title --> Access Artistry Manifesto<span>Hook&Loop Artist Collective<sup>1</sup></span> <!-- /html_title --></li> </ul> <p><em>The Access Artistry Manifesto was created as a creative access statement for <u>UNDUE BURDEN</u>'s residency at <u>The Painted Bride</u> in Fall 2024. <u>UNDUE BURDEN</u> is an ongoing digital community archiving project led by members of Hook&Loop and Disabled, Chronically Ill, Sick, Mad,<sup>2</sup> Neurodivergent+ people in Philadelphia. Hook&Loop is an accessible artist collective and network that builds accessible creative practices and interdisciplinary events</em>.</p> <p><em>We wrote the Access Artistry Manifesto to name our intentions and grounding philosophy around accessibility. It is incomplete, imperfect, and in process, just like us, and aims to present accessibility as art rather than as a legalistic task as it is often considered in art and cultural spaces. The Manifesto presents access as a generative, creative force and even its own artistic genre. We consider accessibility as art and access labor as work</em>.</p> <p><em>Hook&Loop's digital archive project <u>UNDUE BURDEN</u> was in residence at <u>The Painted Bride</u> in Philadelphia from October 19 to November 23, 2024, with the installation of a "living archive" and five sensorial programs that invited the public to expand and engage with our living archive. The living archive installation was created by Maggie Mills with fabrication assistance from B. H. Mills. It consists of seven 6' x 12' fabric loops printed with hand-drawn motifs and archive photographs on unprimed parachute cloth suspended from wood and metal armatures. The archive installation fabric motifs are composed of hand-drawn images that are woven together to represent Hook&Loop's vision for an accessible future. Three of the fabric loop motifs host images from the <u>UNDUE BURDEN</u> digital archive. Some of these images are accompanied by QR codes for audio descriptions and archive notes. The remaining four fabric loop motifs serve as frameworks for our living archive, which visitors were invited to contribute to during our residency workshops. Multiple other installations were set up across the space to invite in the fullness of Sick, Mad, and Disabled embodied experience, including a cozy library with handmade soft cushions, quilts, and rugs created by collective members, a low-stim lounge with sensory tools and low lighting, a space for naming and expressing disability rage, and an access altar to honor our disabled ancestors and reclaim spirituality. The events incorporated poetry, music, dance, a touch-based gallery, and an ILL-legal wedding party,<sup>3</sup> each encouraging immersion, artistic collaboration, interdisciplinarity, audience</em> <strong>[End Page E-17]</strong> <em>engagement, and the valuation of Sick, Mad, Neurodivergent, and Di
{"title":"Access Artistry Manifesto: Hook&Loop Artist Collective","authors":"","doi":"10.1353/tj.2024.a950292","DOIUrl":"https://doi.org/10.1353/tj.2024.a950292","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 --> Access Artistry Manifesto<span>Hook&Loop Artist Collective<sup>1</sup></span> <!-- /html_title --></li> </ul> <p><em>The Access Artistry Manifesto was created as a creative access statement for <u>UNDUE BURDEN</u>'s residency at <u>The Painted Bride</u> in Fall 2024. <u>UNDUE BURDEN</u> is an ongoing digital community archiving project led by members of Hook&Loop and Disabled, Chronically Ill, Sick, Mad,<sup>2</sup> Neurodivergent+ people in Philadelphia. Hook&Loop is an accessible artist collective and network that builds accessible creative practices and interdisciplinary events</em>.</p> <p><em>We wrote the Access Artistry Manifesto to name our intentions and grounding philosophy around accessibility. It is incomplete, imperfect, and in process, just like us, and aims to present accessibility as art rather than as a legalistic task as it is often considered in art and cultural spaces. The Manifesto presents access as a generative, creative force and even its own artistic genre. We consider accessibility as art and access labor as work</em>.</p> <p><em>Hook&Loop's digital archive project <u>UNDUE BURDEN</u> was in residence at <u>The Painted Bride</u> in Philadelphia from October 19 to November 23, 2024, with the installation of a \"living archive\" and five sensorial programs that invited the public to expand and engage with our living archive. The living archive installation was created by Maggie Mills with fabrication assistance from B. H. Mills. It consists of seven 6' x 12' fabric loops printed with hand-drawn motifs and archive photographs on unprimed parachute cloth suspended from wood and metal armatures. The archive installation fabric motifs are composed of hand-drawn images that are woven together to represent Hook&Loop's vision for an accessible future. Three of the fabric loop motifs host images from the <u>UNDUE BURDEN</u> digital archive. Some of these images are accompanied by QR codes for audio descriptions and archive notes. The remaining four fabric loop motifs serve as frameworks for our living archive, which visitors were invited to contribute to during our residency workshops. Multiple other installations were set up across the space to invite in the fullness of Sick, Mad, and Disabled embodied experience, including a cozy library with handmade soft cushions, quilts, and rugs created by collective members, a low-stim lounge with sensory tools and low lighting, a space for naming and expressing disability rage, and an access altar to honor our disabled ancestors and reclaim spirituality. The events incorporated poetry, music, dance, a touch-based gallery, and an ILL-legal wedding party,<sup>3</sup> each encouraging immersion, artistic collaboration, interdisciplinarity, audience</em> <strong>[End Page E-17]</strong> <em>engagement, and the valuation of Sick, Mad, Neurodivergent, and Di","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"35 1","pages":"E-17-E-20"},"PeriodicalIF":0.5,"publicationDate":"2025-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"144797579","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>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
{"title":"The Theatre of Christopher Durang by Miriam M. Chirico (review)","authors":"Amy S. Osatinski","doi":"10.1353/tj.2024.a943417","DOIUrl":"https://doi.org/10.1353/tj.2024.a943417","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>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 ","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"57 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-11-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"142637149","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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