<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 Second Wave: Reflections on The Pandemic Through Photography, Performance and Public Culture</em> by Rustom Bharucha <!-- /html_title --></li> <li> Amanda Culp </li> </ul> <em>THE SECOND WAVE: REFLECTIONS ON THE PANDEMIC THROUGH PHOTOGRAPHY, PERFORMANCE AND PUBLIC CULTURE</em>. By Rustom Bharucha. Kolkata: Seagull Books, 2022; pp. 230. <p>Rustom Bharucha begins <em>The Second Wave</em>, his insightful and broad “reflections on the pandemic through photography, performance and public culture,” with an acknowledgment of his position in the thick of things: “in medias res” (ix). Written <strong>[End Page 247]</strong> from Bharucha’s apartment in Kolkata during the catastrophic second wave of the pandemic that tore through India in the spring of 2021, the book contends with the question: how can we write about, reflect on, or make art about an experience as all encompassing—and world-altering—as the COVID-19 pandemic when we are still so fully immersed in its aftershocks? Bharucha’s interest in the middle—in beginning from the space in between—performs a kind of temporal alchemy: reading these essays feels like both an imprint of a particular moment in time and a moment extended. For here I am writing this review nearly three years later, and the world still feels very much in the middle of this crisis, perhaps just further along. We are still suspended between the world before the pandemic and the world that will follow it—on the threshold between an ending and a new beginning.</p> <p><em>The Second Wave</em> makes more connections than it does explicit arguments. The book is divided into three essays—“Photography in the Pandemic,” “No Time to Mourn,” and “Endings/Beginnings”—and while each has a distinct focus, the real success of the volume is in its fluidity. In the preface, Bharucha offers instruction as to how best to encounter the work: “Instead of spelling out here how I shift gears from one context to another, I would prefer that you share some of the surprise that I felt on discovering these connections as they came to life in the narrative” (xvii). In the spirit of that directive, I can speak to my own discoveries, which I imagine upon a second reading would shift from another point of relation to the last four years. On this read, what really captured my attention was how <em>The Second Wave</em> expresses liminality, in both the content that it documents and the manner in which that content is communicated. It is betwixt and between genres, somewhere between theory, memoir, and journalistic documentation; disciplines, moving effortlessly through case studies drawn from mythology, visual arts, performing arts, and literature; continents, insisting that a global pandemic be theorized, documented, and responded to from global vantages; and temporalities, a condition that, as I’ve sugge
{"title":"The Second Wave: Reflections on The Pandemic Through Photography, Performance and Public Culture by Rustom Bharucha (review)","authors":"Amanda Culp","doi":"10.1353/tj.2024.a932180","DOIUrl":"https://doi.org/10.1353/tj.2024.a932180","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 Second Wave: Reflections on The Pandemic Through Photography, Performance and Public Culture</em> by Rustom Bharucha <!-- /html_title --></li> <li> Amanda Culp </li> </ul> <em>THE SECOND WAVE: REFLECTIONS ON THE PANDEMIC THROUGH PHOTOGRAPHY, PERFORMANCE AND PUBLIC CULTURE</em>. By Rustom Bharucha. Kolkata: Seagull Books, 2022; pp. 230. <p>Rustom Bharucha begins <em>The Second Wave</em>, his insightful and broad “reflections on the pandemic through photography, performance and public culture,” with an acknowledgment of his position in the thick of things: “in medias res” (ix). Written <strong>[End Page 247]</strong> from Bharucha’s apartment in Kolkata during the catastrophic second wave of the pandemic that tore through India in the spring of 2021, the book contends with the question: how can we write about, reflect on, or make art about an experience as all encompassing—and world-altering—as the COVID-19 pandemic when we are still so fully immersed in its aftershocks? Bharucha’s interest in the middle—in beginning from the space in between—performs a kind of temporal alchemy: reading these essays feels like both an imprint of a particular moment in time and a moment extended. For here I am writing this review nearly three years later, and the world still feels very much in the middle of this crisis, perhaps just further along. We are still suspended between the world before the pandemic and the world that will follow it—on the threshold between an ending and a new beginning.</p> <p><em>The Second Wave</em> makes more connections than it does explicit arguments. The book is divided into three essays—“Photography in the Pandemic,” “No Time to Mourn,” and “Endings/Beginnings”—and while each has a distinct focus, the real success of the volume is in its fluidity. In the preface, Bharucha offers instruction as to how best to encounter the work: “Instead of spelling out here how I shift gears from one context to another, I would prefer that you share some of the surprise that I felt on discovering these connections as they came to life in the narrative” (xvii). In the spirit of that directive, I can speak to my own discoveries, which I imagine upon a second reading would shift from another point of relation to the last four years. On this read, what really captured my attention was how <em>The Second Wave</em> expresses liminality, in both the content that it documents and the manner in which that content is communicated. It is betwixt and between genres, somewhere between theory, memoir, and journalistic documentation; disciplines, moving effortlessly through case studies drawn from mythology, visual arts, performing arts, and literature; continents, insisting that a global pandemic be theorized, documented, and responded to from global vantages; and temporalities, a condition that, as I’ve sugge","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"214 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141750237","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}
Sissi Liu, Derek Miller, Erin B Mee, Kate Elswit, Sarah Bay-Cheng
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span> <p> <ul> <li><!-- html_title --> Digital Scholarship Roundtable: <span>The State of the Field</span> <!-- /html_title --></li> <li> Sissi Liu, Derek Miller, Erin B Mee, Kate Elswit, and Sarah Bay-Cheng </li> </ul> <p>In the seventy-fifth anniversary issue of <em>Theatre Journal</em>, former editor Joanne Tompkins in her essay “The Digital Turn: Research and Publishing in <em>Theatre Journal</em>” presents a grippingly thorough historization of the launch of the journal’s online platform in 2016, a key milestone in its development. She describes the initial plans for the online platform in what she calls a “two-part structure” that “presents the most straightforward narrative”: “essays that focus on theatre that is about or incorporates digital practices in the first instance, and essays on theatre that deploy digital methodologies as part of the structure of their critical endeavors.”<sup>1</sup> However, she also states that for theatre and performance practice and research more generally, “it does need to be [more] complicated” than the two-parter.<sup>2</sup> In response to Tompkins’s article and to the digital turn in theatre and performance in general, Sissi Liu, current chair of ATHE-ASTR Excellence in Digital Scholarship Award Committee, has invited prominent scholars and former chairs/committee members to reflect together on the state of the field of digital scholarship in theatre and performance. Each contributor addresses a complicated issue or takes on a series of productive questions: What kinds of digital scholarship are currently out there and how do we conceptualize them (Liu)? What questions might we ask to assess the current state of digital scholarship (Derek Miller)? Why should we all write/perform born-digital articles and how do we do so (Erin B Mee)? When is a widespread shift coming for digital methods in theatre, dance, and performance (Kate Elswit)? The roundtable concludes with an overview of how digital scholarship across the field in the past twenty-five years has shifted and evolved from digitalization to datafication (Sarah Bay-Cheng). Together, these contributions offer perspectives on what the field looks like now and where it is going.</p> <h2>A Taxonomy of Digital Scholarship Sissi Liu</h2> <p>Digital: using computer technology to generate, store, and process data; the opposite of analog. Scholarship: the production of new knowledge. When the two combine, the result is much larger than the sum of its parts, promising endless possibilities. Digital scholarship in theatre and performance studies has been growing since the early 2000s (see Sarah Bay-Cheng’s reflections below), and especially since 2015, when several theatre journals launched online sections and ATHE and ASTR together established the Excellence in Digital Scholarship Award. Since the COVID-19 global pandemic <strong>[End Page E-17]</strong> began in 2020, high d
以下是内容的简要摘录，以代替摘要： 数字学术圆桌会议：Sissi Liu、Derek Miller、Erin B Mee、Kate Elswit 和 Sarah Bay-Cheng 在《戏剧杂志》七十五周年纪念特刊上，前编辑 Joanne Tompkins 在她的文章《数字转向：《戏剧杂志》的研究与出版》中，对《戏剧杂志》推出数字技术的历史进行了扣人心弦的分析：Theatre Journal》的研究与出版》一文中，对 2016 年《戏剧杂志》在线平台的推出进行了扣人心弦的历史梳理，这是该杂志发展过程中的一个重要里程碑。她用所谓的 "两部分结构 "描述了在线平台的最初计划，"呈现了最直截了当的叙述"："1不过，她也指出，对于更广泛的戏剧和表演实践与研究而言，"确实需要比这两部分结构[更]复杂"。为了回应汤普金斯的文章以及戏剧和表演领域的数字转向，ATHE-ASTR 卓越数字学术奖委员会现任主席刘茜茜邀请了著名学者和前主席/委员会成员共同思考戏剧和表演领域的数字学术现状。每位撰稿人都探讨了一个复杂的问题，或提出了一系列富有成效的问题：目前有哪些类型的数字学术，我们如何将其概念化（刘）？我们可以提出哪些问题来评估数字学术的现状（德里克-米勒）？为什么我们都应该撰写/执行天生的数字化文章，以及如何做到这一点（Erin B Mee）？戏剧、舞蹈和表演领域的数字化方法何时会出现广泛转变（凯特-埃尔斯维特）？圆桌会议最后概述了过去二十五年中整个领域的数字学术如何从数字化向数据化转变和发展（莎拉-贝-郑）。这些文章共同为该领域的现状和未来发展提供了视角。数字学术的分类学 Sissi Liu 数字：使用计算机技术生成、存储和处理数据；与模拟相反。学术：创造新知识。当两者结合在一起时，其结果远远大于各部分的总和，蕴含着无限的可能性。自本世纪初以来，戏剧与表演研究领域的数字学术一直在发展（见下文萨拉-贝城的思考），尤其是自2015年以来，多家戏剧期刊推出了在线版块，ATHE和ASTR共同设立了 "数字学术卓越奖"。自 2020 年 COVID-19 全球大流行 [尾页 E-17]以来，对在线平台和新技术的高需求刺激了面向更多受众的多种形式的数字学术进一步扩散。随着数字学术形态的不断演变，我们需要一种最新的分类法来帮助对其多种形式进行概念化，以便在变化中进行导航，并为了解该领域的现状提供一把钥匙。在过去的四年里，我一直担任 ATHE-ASTR 卓越数字学术奖委员会的委员，我观察到数字学术在当前和可预见的未来有四个流动且相互交织的类别：传播性、可搜索性、分析性和表演性（图 1）。3 传播类--大多不以数据为中心（数据辅助论证，但不是学术关注的中心）--以数字出版的形式记录和分享信息；它最接近传统学术，保留其优点，同时在数字化环境中产生新的学术模式。可搜索类包括数字档案馆和数据库，其中许多都是从手工将印刷资料数字化、编目和转化为数据集开始的。分析类是以数据为中心的类别（项目的形式和内容都以数据为中心），利用数字方法和数据科学方法展示经过分析或处理的数据，而不是原始数据。表演类（无论是否以数据为中心）"表演 "数据，强调用户体验，倾向于创造性的表演项目。这种分类考虑了处理数据的方式（原始数据、处理过的数据或表演过的数据，每一种都比前一种对技术要求更高）以及学者/创作者与其读者/受众之间的关系。 点击
{"title":"Digital Scholarship Roundtable: The State of the Field","authors":"Sissi Liu, Derek Miller, Erin B Mee, Kate Elswit, Sarah Bay-Cheng","doi":"10.1353/tj.2024.a932164","DOIUrl":"https://doi.org/10.1353/tj.2024.a932164","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 --> Digital Scholarship Roundtable: <span>The State of the Field</span> <!-- /html_title --></li> <li> Sissi Liu, Derek Miller, Erin B Mee, Kate Elswit, and Sarah Bay-Cheng </li> </ul> <p>In the seventy-fifth anniversary issue of <em>Theatre Journal</em>, former editor Joanne Tompkins in her essay “The Digital Turn: Research and Publishing in <em>Theatre Journal</em>” presents a grippingly thorough historization of the launch of the journal’s online platform in 2016, a key milestone in its development. She describes the initial plans for the online platform in what she calls a “two-part structure” that “presents the most straightforward narrative”: “essays that focus on theatre that is about or incorporates digital practices in the first instance, and essays on theatre that deploy digital methodologies as part of the structure of their critical endeavors.”<sup>1</sup> However, she also states that for theatre and performance practice and research more generally, “it does need to be [more] complicated” than the two-parter.<sup>2</sup> In response to Tompkins’s article and to the digital turn in theatre and performance in general, Sissi Liu, current chair of ATHE-ASTR Excellence in Digital Scholarship Award Committee, has invited prominent scholars and former chairs/committee members to reflect together on the state of the field of digital scholarship in theatre and performance. Each contributor addresses a complicated issue or takes on a series of productive questions: What kinds of digital scholarship are currently out there and how do we conceptualize them (Liu)? What questions might we ask to assess the current state of digital scholarship (Derek Miller)? Why should we all write/perform born-digital articles and how do we do so (Erin B Mee)? When is a widespread shift coming for digital methods in theatre, dance, and performance (Kate Elswit)? The roundtable concludes with an overview of how digital scholarship across the field in the past twenty-five years has shifted and evolved from digitalization to datafication (Sarah Bay-Cheng). Together, these contributions offer perspectives on what the field looks like now and where it is going.</p> <h2>A Taxonomy of Digital Scholarship Sissi Liu</h2> <p>Digital: using computer technology to generate, store, and process data; the opposite of analog. Scholarship: the production of new knowledge. When the two combine, the result is much larger than the sum of its parts, promising endless possibilities. Digital scholarship in theatre and performance studies has been growing since the early 2000s (see Sarah Bay-Cheng’s reflections below), and especially since 2015, when several theatre journals launched online sections and ATHE and ASTR together established the Excellence in Digital Scholarship Award. Since the COVID-19 global pandemic <strong>[End Page E-17]</strong> began in 2020, high d","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"26 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141750240","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>Pageant</em> By Joan FitzPatrick Dean <!-- /html_title --></li> <li> David J. Eshelman </li> </ul> <em>PAGEANT</em>. By Joan FitzPatrick Dean. Forms of Drama Series. London: Methuen, 2021; pp. 177. <p>Pageants are large-scale scripted events designed to appeal to, include, and build communities. Joan FitzPatrick Dean’s book serves as an introduction to the pageant form, with three detailed analyses of pageants in history. This historical study focuses on British and US examples. Dean’s exploration spans centuries, with key examples including the Noah pageants of the Middle Ages, <em>A Pageant of Great Women</em> and other suffrage pageants of the early 1900s, and the <em>Isles of Wonder</em> that opened the 2012 Olympic Games in London. In each case, she provides abundant description and situates performances within the larger context of pageant history and theory, studying language, structure, and production elements. This book is important because it brings attention to a theatrical form that <strong>[End Page 250]</strong> has been largely ignored by critics since the early twentieth century. <em>Pageant</em> is a welcome addition to the sparse number of recent studies such as David Glassberg’s <em>American Historical Pageantry</em> (1990) and Dean’s own <em>All Dressed Up: Modern Irish Historical Pageantry</em> (2014). Dean’s published work makes her the expert in the field. <em>Pageant</em> differs from her previous publication in that it discusses the form more broadly, but this broadness goes perhaps too far. While she makes apt use of the categories of “hegemonic” and “counterhegemonic,” I would have preferred a stronger argumentative thrust. However, I am intensely grateful for her work.</p> <p>Among <em>Pageant</em>’s strengths is the introduction, which details the form. Dean lays out features that separate the pageant from traditional stage plays: qualities such as “short shelf life” and the tendency to be “performed outside purpose-built theaters” (2); “straightforward” plotting, presentational style, and its emphasis on amateur performance (4); and a dependence on singing (7). These traits are tantalizing and point to innovative ways of doing performance. Dean’s representative performances cover key historical points typically cited in pageant studies—the medieval period and the turn of the twentieth century—along with the more recent Olympics example. Medieval pageants, or Corpus Christi plays, were religious dramas commonly performed at festivals by working-class laymen. The turn of the twentieth century is significant because it marked a spike in popularity of the pageant. Dean begins her analysis of this period with a discussion of British dramatist Louis Napoleon Parker and US playwright Percy MacKaye. Both were established “pageant-masters,” meaning that they toured their resp
以下是内容的简要摘录，以代替摘要：审稿人 Pageant By Joan FitzPatrick Dean David J. Eshelman PAGEANT.作者：琼-菲茨帕特里克-迪恩。戏剧形式系列。伦敦：Methuen，2021 年；第 177 页。选美是大型的剧本活动，旨在吸引、包容和建设社区。琼-菲茨帕特里克-迪恩（Joan FitzPatrick Dean）在书中介绍了选美形式，并对历史上的选美活动进行了三次详细分析。这项历史研究侧重于英国和美国的实例。迪恩的探索跨越了几个世纪，主要例子包括中世纪的诺亚选美会、20 世纪初的 "伟大女性的盛会 "和其他选举权选美会，以及 2012 年伦敦奥运会开幕式上的 "奇迹之岛"。在每个案例中，她都提供了大量的描述，并将表演置于选美历史和理论的大背景中，研究语言、结构和制作元素。本书的重要性在于，它让人们注意到了一种自二十世纪初以来在很大程度上被评论家忽视的戏剧形式。除了大卫-格拉斯伯格（David Glassberg）的《美国历史选美》（1990 年）和迪恩自己的《盛装打扮：现代爱尔兰历史选美》（2014 年）等数量稀少的近期研究之外，《选美》是一本值得欢迎的新书。迪恩已出版的著作使她成为该领域的专家。Pageant 与她之前的出版物不同之处在于，该书对这种形式进行了更广泛的讨论，但这种广泛性或许走得太远了。虽然她恰如其分地使用了 "霸权 "和 "反霸权 "的范畴，但我更希望她的论证主旨更加有力。不过，我还是非常感谢她的工作。盛会》的优点之一是导言，其中详细介绍了该书的形式。迪安列出了选美与传统舞台剧的不同之处：如 "保存期短 "和倾向于 "在专门建造的剧场外演出"（2）；"直截了当 "的情节安排、展示风格和对业余表演的强调（4）；以及对歌唱的依赖（7）。这些特点都很诱人，指向创新的表演方式。迪安的代表性表演涵盖了选美研究中通常引用的关键历史时期--中世纪和二十世纪之交--以及最近的奥运会。中世纪的庆典或基督圣体剧，是工人阶级非专业人士在节日期间经常表演的宗教剧。二十世纪之交的意义重大，因为它标志着盛会的流行高峰。迪恩在分析这一时期时首先讨论了英国戏剧家路易斯-拿破仑-帕克和美国剧作家珀西-麦凯。两人都是久负盛名的 "选美大师"，这意味着他们在各自的国家巡回演出，帮助社区组织演出。两人都强调和美化过去，纪念政治领导人认为对各自国家的建国和发展神话具有重要意义的事件。通过这种方式，帕克和麦凯耶创造了霸权表演，为当前的政治领导提供了支持。迪恩引用了麦凯的观点，他主张通过选美来建立国家认同，"创造一种适当的美国公民国家仪式"（24）。霸权/反霸权的线索在全书中不时出现。例如，在讨论中世纪的诺亚戏剧时，迪恩强调了诺亚妻子的形象，她被写成了一个喜剧人物。她既指出了这一形象的反霸权用途--在一个严肃的宗教故事中扮演一个小丑，也指出了近来对她的理解--她是对普遍性别刻板印象的霸权强化（57）。Dean 后来在讨论 20 世纪初旨在改变社会--特别是为妇女争取选举权--的妇女选举权选美时强调了反霸权。英国活动家西塞莉-玛丽-汉密尔顿（Cicely Mary Hamilton，1872-1952 年）是这一运动的主要贡献者，她倡导 "新女性"（77）。帕克和麦克凯伊的庆典通过对历史的美好描绘来强化文化规范，与此形成鲜明对比的是，参政权选举表演利用庆典惯例来赋予妇女权力。具体而言，他们使用了生动的场景，包括历史上著名女性的场景，由社区成员担任演员（93）。在《盛会》的最后一章，迪恩通过研究奥运会开幕式这一 "大型活动"，将她对盛会的研究延伸到了本世纪。在概述了 1936 年柏林奥运会、1984 年洛杉矶奥运会以及其他奥运会的开幕式之后，迪恩将重点放在了 "奥林匹克之岛"（The Isles of...
{"title":"Pageant By Joan FitzPatrick Dean (review)","authors":"David J. Eshelman","doi":"10.1353/tj.2024.a932182","DOIUrl":"https://doi.org/10.1353/tj.2024.a932182","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>Pageant</em> By Joan FitzPatrick Dean <!-- /html_title --></li> <li> David J. Eshelman </li> </ul> <em>PAGEANT</em>. By Joan FitzPatrick Dean. Forms of Drama Series. London: Methuen, 2021; pp. 177. <p>Pageants are large-scale scripted events designed to appeal to, include, and build communities. Joan FitzPatrick Dean’s book serves as an introduction to the pageant form, with three detailed analyses of pageants in history. This historical study focuses on British and US examples. Dean’s exploration spans centuries, with key examples including the Noah pageants of the Middle Ages, <em>A Pageant of Great Women</em> and other suffrage pageants of the early 1900s, and the <em>Isles of Wonder</em> that opened the 2012 Olympic Games in London. In each case, she provides abundant description and situates performances within the larger context of pageant history and theory, studying language, structure, and production elements. This book is important because it brings attention to a theatrical form that <strong>[End Page 250]</strong> has been largely ignored by critics since the early twentieth century. <em>Pageant</em> is a welcome addition to the sparse number of recent studies such as David Glassberg’s <em>American Historical Pageantry</em> (1990) and Dean’s own <em>All Dressed Up: Modern Irish Historical Pageantry</em> (2014). Dean’s published work makes her the expert in the field. <em>Pageant</em> differs from her previous publication in that it discusses the form more broadly, but this broadness goes perhaps too far. While she makes apt use of the categories of “hegemonic” and “counterhegemonic,” I would have preferred a stronger argumentative thrust. However, I am intensely grateful for her work.</p> <p>Among <em>Pageant</em>’s strengths is the introduction, which details the form. Dean lays out features that separate the pageant from traditional stage plays: qualities such as “short shelf life” and the tendency to be “performed outside purpose-built theaters” (2); “straightforward” plotting, presentational style, and its emphasis on amateur performance (4); and a dependence on singing (7). These traits are tantalizing and point to innovative ways of doing performance. Dean’s representative performances cover key historical points typically cited in pageant studies—the medieval period and the turn of the twentieth century—along with the more recent Olympics example. Medieval pageants, or Corpus Christi plays, were religious dramas commonly performed at festivals by working-class laymen. The turn of the twentieth century is significant because it marked a spike in popularity of the pageant. Dean begins her analysis of this period with a discussion of British dramatist Louis Napoleon Parker and US playwright Percy MacKaye. Both were established “pageant-masters,” meaning that they toured their resp","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"24 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-07-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141755358","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>Evita</em> by Andrew Lloyd Webber <!-- /html_title --></li> <li> Ryan McKinney </li> </ul> <em>EVITA</em>. Book and lyrics by Tim Rice. Music by Andrew Lloyd Webber. Directed by Sammi Cannold. American Repertory Theater, Cambridge, Massachusetts. June 16, 2023. <p>As audience members settled into their seats for the American Repertory Theater’s revival of <em>Evita</em>, a white, shimmering ball gown hung suspended over the Loeb Drama Center stage, floa ing with ethereal life, though unfilled by a human form. The musical’s <strong>[End Page 106]</strong> opening voiceover announcing the 1952 death of Eva Duarte de Perón rang out across the theatre, and then the dissonant chords of a requiem shattered the ensuing brief silence. A chorus of Argentines processed onto the stage, grieving the loss of Argentina’s First Lady, the suspended iconic gown serving as the only visual reference of her legacy. Who or what was being mourned here? A political figu e? A humble woman? A controversial criminal? A beloved icon? These questions remained at the forefront of this stunningly directed, performed, and sung revival of <em>Evita</em>.</p> <br/> Click for larger view<br/> View full resolution <p>Shereen Pimentel (Eva), Omar Lopez-Cepero (Che), and the company of <em>Evita</em>. (Photo: Nile Scott Studios.)</p> <p></p> <p>Originally released as a concept album in 1976, <em>Evita</em> marks one of the first collaborations between Andrew Lloyd Webber and Tim Rice. Later produced as a stage musical in the West End in 1978 and on Broadway in 1979, <em>Evita</em> served as a star-vehicle for its leading ladies, Elaine Paige and Patti LuPone, respectively. These original productions, both directed by Hal Prince, and their associated cast recordings made artistic, design, and musical choices that have become embedded in the fabric of <em>Evita</em>. While the ART production honored Prince’s original vision, it also strove to reimagine <em>Evita</em>—the musical <em>and</em> the woman—by creating a piece of musical storytelling that tangled with class, humanity, and memory.</p> <p>Based on an earlier 2019 production in the City Center Encores! series, the ART production featured many returning cast and artistic team members, including its director, Sammi Cannold, who staged this production with a great deal of detail, thoughtfully foregrounding the theme of memory. The musical begins with Eva’s death, but the timeline then leaps backward to Eva’s humble beginnings and progresses from there in a sung-through narrative that details her life. These unfolding memories and events are filte ed through the eyes of the musical’s narrator, Che, an anti-Perón revolutionary who serves as Eva’s dramatic foil. Cannold embraced this memory framework to clarify not only Eva’s own story but also that of the mystical figu e of Che. Al
{"title":"Evita by Andrew Lloyd Webber (review)","authors":"Ryan McKinney","doi":"10.1353/tj.2024.a929521","DOIUrl":"https://doi.org/10.1353/tj.2024.a929521","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>Evita</em> by Andrew Lloyd Webber <!-- /html_title --></li> <li> Ryan McKinney </li> </ul> <em>EVITA</em>. Book and lyrics by Tim Rice. Music by Andrew Lloyd Webber. Directed by Sammi Cannold. American Repertory Theater, Cambridge, Massachusetts. June 16, 2023. <p>As audience members settled into their seats for the American Repertory Theater’s revival of <em>Evita</em>, a white, shimmering ball gown hung suspended over the Loeb Drama Center stage, floa ing with ethereal life, though unfilled by a human form. The musical’s <strong>[End Page 106]</strong> opening voiceover announcing the 1952 death of Eva Duarte de Perón rang out across the theatre, and then the dissonant chords of a requiem shattered the ensuing brief silence. A chorus of Argentines processed onto the stage, grieving the loss of Argentina’s First Lady, the suspended iconic gown serving as the only visual reference of her legacy. Who or what was being mourned here? A political figu e? A humble woman? A controversial criminal? A beloved icon? These questions remained at the forefront of this stunningly directed, performed, and sung revival of <em>Evita</em>.</p> <br/> Click for larger view<br/> View full resolution <p>Shereen Pimentel (Eva), Omar Lopez-Cepero (Che), and the company of <em>Evita</em>. (Photo: Nile Scott Studios.)</p> <p></p> <p>Originally released as a concept album in 1976, <em>Evita</em> marks one of the first collaborations between Andrew Lloyd Webber and Tim Rice. Later produced as a stage musical in the West End in 1978 and on Broadway in 1979, <em>Evita</em> served as a star-vehicle for its leading ladies, Elaine Paige and Patti LuPone, respectively. These original productions, both directed by Hal Prince, and their associated cast recordings made artistic, design, and musical choices that have become embedded in the fabric of <em>Evita</em>. While the ART production honored Prince’s original vision, it also strove to reimagine <em>Evita</em>—the musical <em>and</em> the woman—by creating a piece of musical storytelling that tangled with class, humanity, and memory.</p> <p>Based on an earlier 2019 production in the City Center Encores! series, the ART production featured many returning cast and artistic team members, including its director, Sammi Cannold, who staged this production with a great deal of detail, thoughtfully foregrounding the theme of memory. The musical begins with Eva’s death, but the timeline then leaps backward to Eva’s humble beginnings and progresses from there in a sung-through narrative that details her life. These unfolding memories and events are filte ed through the eyes of the musical’s narrator, Che, an anti-Perón revolutionary who serves as Eva’s dramatic foil. Cannold embraced this memory framework to clarify not only Eva’s own story but also that of the mystical figu e of Che. Al","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"14 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-06-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141264764","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>Mussolini’s Theatre: Fascist Experiments in Art and Politics</em> by Patricia Gaborik <!-- /html_title --></li> <li> Alessandro Clericuzio </li> </ul> <em>MUSSOLINI’S THEATRE: FASCIST EXPERIMENTS IN ART AND POLITICS</em>. By Patricia Gaborik. Cambridge: Cambridge University Press, 2021; pp. 312. <p>While much has been written about fascism and cinema, architecture, and literature, theatre studies has only recently offered new insights into Italy’s <em>ventennio</em>, the dark years of dictatorship that ended with the Allied invasion of Sicily during World War II. This is the task undertaken by Patricia Gaborik in <em>Mussolini’s Theatre</em>, a must-read for anyone interested in Italian studies or in the intersection between politics and drama. While sidestepping the concept of Benito Mussolini as actor—e.g., the mesmerizing frontman with powerful eyes and dramatic body language—this study explores lesser-known avenues such as those of the dictator-as-spectator, critic, impresario, playwright, and censor. All these roles no doubt had to do with his exercise of power, which means that the connections between thespian aesthetics and politics (and therefore history) are of major import.</p> <p>Gaborik investigates the role of theatre in the personal and professional life of Il Duce, starting <strong>[End Page 119]</strong> from his tastes as a theatregoer and then as prime minister. His favorite writers for the stage had to embody certain sentiments—apart from being “on his team”—meaning that they had to show respect and admiration for Blackshirt philosophy. Gabriele D’Annunzio and George Bernard Shaw, with their ideals of the Superman, for instance, met with Mussolini’s approval. Luigi Pirandello’s theatre, which played between reality and imagination, and his belief in the possibility of building alternative worlds appealed to Mussolini’s self-centered view of life and government. More significantly, in the case of Pirandello, who was highly estimated abroad, Mussolini used the artist as a cultural ambassador for fascist propaganda. Gaborik demonstrates the important role theatre played in telegraphing the Mussolini government’s beliefs abroad.</p> <p>Il Duce was also a meticulous censor, and he banned or heavily edited works that did not meet his criteria. Delving into archives, memoirs, and current scholarship, Gaborik manages to present a thorough reconstruction of the activities of theatre censorship, taking considerable note of the many contradictions of a difficult and at times ambiguous practice. For instance, she discusses the ways Mussolini was aided in this endeavor by Leopoldo Zurlo, whose task was to approve, reject, or suspend plays. This latter case was applied when “any determination was considered too ‘sensitive.’ It was a strategy that amounted to ignoring the problem and hoping i
{"title":"Mussolini's Theatre: Fascist Experiments in Art and Politics by Patricia Gaborik (review)","authors":"Alessandro Clericuzio","doi":"10.1353/tj.2024.a929528","DOIUrl":"https://doi.org/10.1353/tj.2024.a929528","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>Mussolini’s Theatre: Fascist Experiments in Art and Politics</em> by Patricia Gaborik <!-- /html_title --></li> <li> Alessandro Clericuzio </li> </ul> <em>MUSSOLINI’S THEATRE: FASCIST EXPERIMENTS IN ART AND POLITICS</em>. By Patricia Gaborik. Cambridge: Cambridge University Press, 2021; pp. 312. <p>While much has been written about fascism and cinema, architecture, and literature, theatre studies has only recently offered new insights into Italy’s <em>ventennio</em>, the dark years of dictatorship that ended with the Allied invasion of Sicily during World War II. This is the task undertaken by Patricia Gaborik in <em>Mussolini’s Theatre</em>, a must-read for anyone interested in Italian studies or in the intersection between politics and drama. While sidestepping the concept of Benito Mussolini as actor—e.g., the mesmerizing frontman with powerful eyes and dramatic body language—this study explores lesser-known avenues such as those of the dictator-as-spectator, critic, impresario, playwright, and censor. All these roles no doubt had to do with his exercise of power, which means that the connections between thespian aesthetics and politics (and therefore history) are of major import.</p> <p>Gaborik investigates the role of theatre in the personal and professional life of Il Duce, starting <strong>[End Page 119]</strong> from his tastes as a theatregoer and then as prime minister. His favorite writers for the stage had to embody certain sentiments—apart from being “on his team”—meaning that they had to show respect and admiration for Blackshirt philosophy. Gabriele D’Annunzio and George Bernard Shaw, with their ideals of the Superman, for instance, met with Mussolini’s approval. Luigi Pirandello’s theatre, which played between reality and imagination, and his belief in the possibility of building alternative worlds appealed to Mussolini’s self-centered view of life and government. More significantly, in the case of Pirandello, who was highly estimated abroad, Mussolini used the artist as a cultural ambassador for fascist propaganda. Gaborik demonstrates the important role theatre played in telegraphing the Mussolini government’s beliefs abroad.</p> <p>Il Duce was also a meticulous censor, and he banned or heavily edited works that did not meet his criteria. Delving into archives, memoirs, and current scholarship, Gaborik manages to present a thorough reconstruction of the activities of theatre censorship, taking considerable note of the many contradictions of a difficult and at times ambiguous practice. For instance, she discusses the ways Mussolini was aided in this endeavor by Leopoldo Zurlo, whose task was to approve, reject, or suspend plays. This latter case was applied when “any determination was considered too ‘sensitive.’ It was a strategy that amounted to ignoring the problem and hoping i","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"53 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-06-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141264782","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>Torera</em> by Monet Hurst-Mendoza <!-- /html_title --></li> <li> Weston Twardowski </li> </ul> <em>TORERA</em>. By Monet Hurst-Mendoza. Directed and choreographed by Tatiana Pandiani. Alley Theatre, Houston. May 17, 2023. <p>When Elena María Ramírez (Jacqueline Guillén) and Tanok Cárdenas (Jesse Castellanos) ran onto the stage at the opening of <em>Torera</em>, the Alley Theatre’s world premiere production of Monet Hurst-Mendoza’s new play, the gender expectations and social roles that formed the core tension of the show were immediately established. Elena, dressed in a child’s white peasant dress, rapidly climbed a knotted rope representing an orange tree. Tanok, in a boy’s private school uniform, sat in a swing across from Elena. Although a projection had informed the audience that the year was 1992, the costumes could easily have been mistaken for those of a century earlier. The interplay between the potentially period dress and the contemporary setting signaled the importance of tradition in the play: in the Yucatán, history, tradition, culture (and cultural roles) matter. The costuming and the scene’s blocking worked in tandem to define the gender roles assigned to the two principal characters throughout their ensuing journey.</p> <p><em>Torera</em> arrived at the Alley after COVID-19 delays. It had been in development for six years, with readings or workshops at the Eugene O’Neill Theatre Center’s National Playwrights Conference, the Public Theater, Long Warf Theatre, Alley Theatre, and elsewhere. The center of the show is Elena, whom we see at ages 12, 20, and 28 as she navigates her upbringing as the daughter of a poor maid, Pastora Ramírez (Maria Elena Ramirez), who lives in the house of a wealthy retired torero (bullfighter), Don Rafael Cárdenas (Eliud Garcia Kauffman). Don Rafael trains his son, Tanok, to follow in his footsteps, but it is Elena whose greatest ambition is to enter the arena. While the driving action of the plot is Elena’s quest to become a torera, a family drama plays out as well: unbeknownst to Elena, she is the illegitimate daughter of Pastora and Don Rafael, and the sexual attraction she and her half-brother Tanok share causes tension in their “fused-at-the-heart” relationship.</p> <br/> Click for larger view<br/> View full resolution <p>Jacqueline Guillén (Elena), José José Arrieta Cuesta (Ensemble), and Jesse Castellanos (Tanok) in <em>Torera</em>. (Photo: Lynn Lane.)</p> <p></p> <p>The script demands physicality, and Tatiana Pandiani, who was credited as both director and choreographer for the Alley production, blended movement and dance to create a visually rich production. Pandiani added short dances and movement sequences into each scene transition to help the production flow across time and space. Occasionally these sequences were led by the named characters
{"title":"Torera by Monet Hurst-Mendoza (review)","authors":"Weston Twardowski","doi":"10.1353/tj.2024.a929513","DOIUrl":"https://doi.org/10.1353/tj.2024.a929513","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>Torera</em> by Monet Hurst-Mendoza <!-- /html_title --></li> <li> Weston Twardowski </li> </ul> <em>TORERA</em>. By Monet Hurst-Mendoza. Directed and choreographed by Tatiana Pandiani. Alley Theatre, Houston. May 17, 2023. <p>When Elena María Ramírez (Jacqueline Guillén) and Tanok Cárdenas (Jesse Castellanos) ran onto the stage at the opening of <em>Torera</em>, the Alley Theatre’s world premiere production of Monet Hurst-Mendoza’s new play, the gender expectations and social roles that formed the core tension of the show were immediately established. Elena, dressed in a child’s white peasant dress, rapidly climbed a knotted rope representing an orange tree. Tanok, in a boy’s private school uniform, sat in a swing across from Elena. Although a projection had informed the audience that the year was 1992, the costumes could easily have been mistaken for those of a century earlier. The interplay between the potentially period dress and the contemporary setting signaled the importance of tradition in the play: in the Yucatán, history, tradition, culture (and cultural roles) matter. The costuming and the scene’s blocking worked in tandem to define the gender roles assigned to the two principal characters throughout their ensuing journey.</p> <p><em>Torera</em> arrived at the Alley after COVID-19 delays. It had been in development for six years, with readings or workshops at the Eugene O’Neill Theatre Center’s National Playwrights Conference, the Public Theater, Long Warf Theatre, Alley Theatre, and elsewhere. The center of the show is Elena, whom we see at ages 12, 20, and 28 as she navigates her upbringing as the daughter of a poor maid, Pastora Ramírez (Maria Elena Ramirez), who lives in the house of a wealthy retired torero (bullfighter), Don Rafael Cárdenas (Eliud Garcia Kauffman). Don Rafael trains his son, Tanok, to follow in his footsteps, but it is Elena whose greatest ambition is to enter the arena. While the driving action of the plot is Elena’s quest to become a torera, a family drama plays out as well: unbeknownst to Elena, she is the illegitimate daughter of Pastora and Don Rafael, and the sexual attraction she and her half-brother Tanok share causes tension in their “fused-at-the-heart” relationship.</p> <br/> Click for larger view<br/> View full resolution <p>Jacqueline Guillén (Elena), José José Arrieta Cuesta (Ensemble), and Jesse Castellanos (Tanok) in <em>Torera</em>. (Photo: Lynn Lane.)</p> <p></p> <p>The script demands physicality, and Tatiana Pandiani, who was credited as both director and choreographer for the Alley production, blended movement and dance to create a visually rich production. Pandiani added short dances and movement sequences into each scene transition to help the production flow across time and space. Occasionally these sequences were led by the named characters","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"30 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-06-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141264790","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>Parade</em> by Alfred Uhry <!-- /html_title --></li> <li> I. B. Hopkins </li> </ul> <em>PARADE</em>. Book by Alfred Uhry. Music and lyrics by Jason Robert Brown. Directed by Michael Arden. New York City Center, Bernard B. Jacobs Theatre, New York. May 3, 2023. <p>Time moves peculiarly in Alfred Uhry and Jason Robert Brown’s sobering <em>Parade</em>, which was revived on Broadway in 2023 for the first time since its debut fizzled out after only eighty-five regular performances in 1998–99. Every day seems to be Confederate Memorial Day in Atlanta, as the sensationalized story of Leo Frank unfolds over several years and the audience’s sense of what precisely is being commemorated thickens. The major drama-turgical challenge of its ripped-from-the-headlines plot remains the fact that many theatregoers will already know the outcome: an antisemitic mob brutally lynched Leo Frank in 1915. The success of City Center’s revival is owed in part to the celebrity status of lead Ben Platt, who along with co-star Micaela Diamond gave a commanding vocal performance. More fundamentally, however, director Michael Arden’s meticulous attention to thematic cyclicality and innovative commitment to treating the musical as a ritual service of remembrance account for the widespread acclaim it enjoyed.</p> <p>Uhry grew up in the Atlanta Jewish community, where, as the playwright describes, Leo Frank’s name remained verboten decades after the tragedy. The victim was accused, convicted, and later exonerated of the rape and murder of Mary Phagan, a 14-year-old white girl who worked in the factory he <strong>[End Page 108]</strong> oversaw. According to Uhry, it was precisely the untellable quality of the story that drew his fascination and ultimately served as the seed for the musical. Indeed, his narrative bears out this emphasis as it highlights systems of oppression—populist yellow journalism, the court’s racist and coercive use of chain gangs, absolutist political bosses, and the sacralization of white womanhood—rather than excoriating individual villains. Actual historical figu es do populate the stage, but apart from Leo (Platt) and his wife Lucille (Diamond), Uhry’s storytelling subordinates their personal heroism or culpability to the conditions that made possible the murder of an innocent man.</p> <br/> Click for larger view<br/> View full resolution <p>“The Old Red Hills of Home,” featuring the company of <em>Parade</em>. (Photo: Joan Marcus.)</p> <p></p> <p>Playing out on Dane Laff ey’s uncrowded set, Arden’s stripped-down staging embraced this structural critique. As the cast gathered along the perimeter of a bare platform, they took a breath in view of the audience before beginning the Prologue (“The Old Red Hills of Home”). This gesture to the artists’ labor in rehearsing such a grim spectacle preceded the char
以下是内容的简要摘录，以代替摘要：评论者： 艾尔弗雷德-乌里的《阅兵式》 I. B. 霍普金斯 PARADE.阿尔弗雷德-乌里著。音乐和歌词：杰森-罗伯特-布朗（Jason Robert Brown）。导演：迈克尔-阿登。纽约市中心，伯纳德-雅各布斯剧院，纽约。2023 年 5 月 3 日。在阿尔弗雷德-乌里和杰森-罗伯特-布朗的这部令人警醒的《游行》中，时间的流逝非常奇特，这是自 1998-99 年首演仅 85 场常规演出后，该剧首次于 2023 年在百老汇重新上演。在亚特兰大，似乎每天都是邦联纪念日，随着里欧-弗兰克的轰动故事在数年中不断展开，观众对纪念活动的确切意义的认识也在不断加深。该剧从头条新闻中提炼出的情节在戏剧性上面临的主要挑战仍然是，许多观众已经知道了结局：1915 年，一群反犹太暴徒残忍地对利奥-弗兰克施以私刑。市中心剧场复排的成功部分归功于主演本-普拉特（Ben Platt）的名人效应，他与合作主演米凯拉-戴蒙德（Micaela Diamond）的表演声情并茂。但更重要的是，导演迈克尔-阿登（Michael Arden）对主题周期性的细致关注，以及将音乐剧视为纪念仪式的创新承诺，是该剧广受赞誉的原因所在。乌里在亚特兰大犹太社区长大，正如剧作家所描述的那样，悲剧发生几十年后，利奥-弗兰克的名字仍被禁用。受害者被指控强奸并谋杀了玛丽-法根（Mary Phagan），她是一名 14 岁的白人女孩，曾在他监管的工厂工作 [完 第 108 页]。根据乌里的说法，正是这个故事的不可知性吸引了他，并最终成为音乐剧的种子。事实上，他的叙事也证明了这一点，因为它强调了压迫制度--民粹主义的黄色新闻、法庭对连锁帮派的种族主义和胁迫性使用、专制主义的政治头目以及白人女性的神圣化--而不是抨击个别的恶棍。舞台上确实出现了真实的历史人物，但除了利奥（普拉特饰）和他的妻子露西尔（戴蒙德饰）之外，乌里的故事将他们的个人英雄主义或罪责归咎于使无辜者被谋杀成为可能的条件。 点击查看大图 查看完整分辨率 "The Old Red Hills of Home"，由 Parade 公司演出。(照片：琼-马库斯。）在戴恩-拉菲-埃伊（Dane Laff ey）毫不拥挤的布景上，阿登的舞台设计简洁明快，体现了这种结构性批判。当演员们聚集在一个光秃秃的平台周围时，他们在开始序幕（"家乡的老红山"）之前先在观众面前深吸一口气。在紧张刺激的开场场景之前，艺术家们用这种姿态表达了他们为排练如此残酷的场面所付出的艰辛。在这个场景中，一名年轻的南方邦联士兵写信回家给他的爱人，发誓要保护她。两句诗之后，他已经变成了一个饱经沧桑的老兵，仍在为失落的事业布道，合奏团也加入其中，奏响了一曲激昂的阵亡将士纪念日颂歌。布朗激昂的歌词和澎湃的和声激发了观众的共鸣--在此之前，挥舞着邦联战旗的孩子们震撼了观众的感官。该剧将阅兵式的观众拉到围裙上，鼓励观众产生情感共鸣，从而在爱国主义的戏剧美学吸引力与父权暴力的根源之间划出了一条直接的界线。(这一幕让人想起原导演和 "共同策划人 "哈罗德-普林斯的早期作品，尤其是《歌舞厅》中令人不安的 "明天属于我"）。斯文-奥特尔（Sven Ortel）的投影设计让观众第一次接触到父权道德的诱惑，并在整部剧中与之形成鲜明对比。在音乐剧开始之前，一张照片投影在伯纳德-雅各布斯剧院裸露的砖块后墙上，并逐渐放大到停车场中一个微不足道的历史标志上，令人毛骨悚然。随后，投影背景墙上贴满了报纸、照片和其他记录，就像一个档案馆，证明了隐含的历史性主张。这一框架表明，有些人很可能已经知道了这个故事；然而，重述故事的价值来自于重温和反思的集体行为，城市中心从乌里的陈述性历史中抽离出来，这似乎是为了让观众惊愕于......
{"title":"Parade by Alfred Uhry (review)","authors":"I. B. Hopkins","doi":"10.1353/tj.2024.a929522","DOIUrl":"https://doi.org/10.1353/tj.2024.a929522","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>Parade</em> by Alfred Uhry <!-- /html_title --></li> <li> I. B. Hopkins </li> </ul> <em>PARADE</em>. Book by Alfred Uhry. Music and lyrics by Jason Robert Brown. Directed by Michael Arden. New York City Center, Bernard B. Jacobs Theatre, New York. May 3, 2023. <p>Time moves peculiarly in Alfred Uhry and Jason Robert Brown’s sobering <em>Parade</em>, which was revived on Broadway in 2023 for the first time since its debut fizzled out after only eighty-five regular performances in 1998–99. Every day seems to be Confederate Memorial Day in Atlanta, as the sensationalized story of Leo Frank unfolds over several years and the audience’s sense of what precisely is being commemorated thickens. The major drama-turgical challenge of its ripped-from-the-headlines plot remains the fact that many theatregoers will already know the outcome: an antisemitic mob brutally lynched Leo Frank in 1915. The success of City Center’s revival is owed in part to the celebrity status of lead Ben Platt, who along with co-star Micaela Diamond gave a commanding vocal performance. More fundamentally, however, director Michael Arden’s meticulous attention to thematic cyclicality and innovative commitment to treating the musical as a ritual service of remembrance account for the widespread acclaim it enjoyed.</p> <p>Uhry grew up in the Atlanta Jewish community, where, as the playwright describes, Leo Frank’s name remained verboten decades after the tragedy. The victim was accused, convicted, and later exonerated of the rape and murder of Mary Phagan, a 14-year-old white girl who worked in the factory he <strong>[End Page 108]</strong> oversaw. According to Uhry, it was precisely the untellable quality of the story that drew his fascination and ultimately served as the seed for the musical. Indeed, his narrative bears out this emphasis as it highlights systems of oppression—populist yellow journalism, the court’s racist and coercive use of chain gangs, absolutist political bosses, and the sacralization of white womanhood—rather than excoriating individual villains. Actual historical figu es do populate the stage, but apart from Leo (Platt) and his wife Lucille (Diamond), Uhry’s storytelling subordinates their personal heroism or culpability to the conditions that made possible the murder of an innocent man.</p> <br/> Click for larger view<br/> View full resolution <p>“The Old Red Hills of Home,” featuring the company of <em>Parade</em>. (Photo: Joan Marcus.)</p> <p></p> <p>Playing out on Dane Laff ey’s uncrowded set, Arden’s stripped-down staging embraced this structural critique. As the cast gathered along the perimeter of a bare platform, they took a breath in view of the audience before beginning the Prologue (“The Old Red Hills of Home”). This gesture to the artists’ labor in rehearsing such a grim spectacle preceded the char","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"27 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-06-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141264775","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>Visualising Lost Theatres: Virtual Praxis and the Recovery of Performance Spaces</em> by Joanne Tompkins <!-- /html_title --></li> <li> Sarah Bay-Cheng </li> </ul> <em>VISUALISING LOST THEATRES: VIRTUAL PRAXIS AND THE RECOVERY OF PERFORMANCE SPACES</em>. By Joanne Tompkins, Julie Holledge, Jonathan Bollen, and Liyang Xia. Cambridge Studies in Modern Theatre. Cambridge: Cambridge University Press, 2022; pp. 211. <p>Over the past twenty years, practices associated with the digital humanities have become more common in theatre and performance studies, as scholars engaged modes of research, analysis, and publication beyond the printed text. Even prior to widespread digital tools, theatre historians drew on communication technologies—photography, radio, film, video—to capture, analyze, replay, and convey past performances. Each technological advance added new dimensions to the multisensory experience of performance, including sound and movement captured in increasing detail and scope. Resources such as Theatre on Film and Tape Archive at the New York Public Library, theatre documentaries circulating on VHS, or a variety of bootlegs illicitly copied and recopied for theatre history classes added to the formal and informal networks of theatre history recordings. With the advent of digital recordings, the internet, and virtual environments, both the documentation and scholarship circulated more broadly.</p> <p>Yet, even as theatre recordings proliferated throughout the twentieth century, the discourse around them focused primarily on their lack of fidelity to the original performances. In the early 2000s, this emphasis began to change as scholarly narratives drew attention to the role that performance recordings and reenactments play as evidence in historical theatre narratives. Books ranging from Diana Taylor’s <em>The Archive and the Repertoire: Performing Cultural Memory in the Americas</em> (2003) to Toni Sant’s <em>Documenting Performance: The Context and Processes of Digital Curation and Archiving</em> (2017) explore how digital technologies create different kinds of performance records. The last ten years have seen the most significant shifts, as theatre scholars engaged the digital humanities to create resources beyond the printed book in digital projects such as Jennifer Roberts-Smith’s Simulated Environment for Theatre (SET) and the Comédie-Française Registers Project (CFRP), among others. Published in 2021, Miguel Escobar Varela’s <em>Theater as Data: Computational Journeys into Theater Research</em> provides an excellent overview with detailed explanations of this emerging field’s best practices. Drawing on both his own work and others’, Varela documents how researchers integrate digital methods and technologies into the study of theatrical performance.</p> <p>The coauthored book <em>Visualis
以下是内容的简要摘录，以代替摘要：评论者： 失落剧院的可视化：乔安妮-汤普金斯（Joanne Tompkins）著，萨拉-贝-郑（Sarah Bay-Cheng VISUALISING LOST THEATRES：虚拟实践与表演空间的恢复》。作者：Joanne Tompkins、Julie Holledge、Jonathan Bollen 和 Liyang Xia。剑桥现代戏剧研究》。剑桥：剑桥大学出版社，2022 年；第 211 页。在过去的二十年里，随着学者们在印刷文本之外进行研究、分析和出版，与数字人文学科相关的实践在戏剧和表演研究中变得越来越普遍。甚至在数字工具普及之前，戏剧史学家们就利用通讯技术--摄影、广播、电影、视频--来捕捉、分析、重播和传达过去的表演。每一次技术进步都为多感官的表演体验增添了新的维度，包括声音和动作的捕捉，其细节和范围都在不断扩大。纽约公共图书馆的 "电影和磁带戏剧档案"、VHS 格式的戏剧纪录片，以及为戏剧史课程非法复制和翻拍的各种盗版制品等资源，都为正式和非正式的戏剧史录音网络增添了新的内容。随着数字录音、互联网和虚拟环境的出现，文献和学术研究都得到了更广泛的传播。然而，即使戏剧录音在整个 20 世纪大量涌现，围绕它们的讨论也主要集中在它们缺乏对原始演出的忠实性上。21 世纪初，随着学术叙事开始关注表演录音和重现在历史戏剧叙事中作为证据的作用，这一重点开始发生变化。从戴安娜-泰勒（Diana Taylor）的《档案与剧目：美洲的文化记忆表演》（The Archive and the Repertoire: Performing Cultural Memory in the Americas，2003 年）到托尼-桑特（Toni Sant）的《记录表演》（Documenting Performance：The Context and Processes of Digital Curation and Archiving》（2017 年）等书籍都探讨了数字技术如何创造出不同类型的表演记录。近十年来，戏剧学者参与数字人文学科，在珍妮弗-罗伯茨-史密斯（Jennifer Roberts-Smith）的 "戏剧模拟环境"（SET）和 "法兰西喜剧院登记簿项目"（CFRP）等数字项目中创造印刷书籍以外的资源，这些转变最为显著。米格尔-埃斯科瓦尔-瓦雷拉的《作为数据的戏剧》于 2021 年出版：对这一新兴领域的最佳实践进行了详细说明。瓦雷拉根据自己和他人的研究成果，记录了研究人员如何将数字方法和技术融入戏剧表演研究。他们合著的《失落剧场的可视化》（Visualising Lost Theatres）一书将这些项目和出版物结合在一起，通过详细的案例研究，将理论研究与具体项目相结合，有力地说明了这些方法如何促进我们对过去戏剧的理解。本书源于作者各自的合作研究领域，结合虚拟现实环境 Ortelia 的开发，展示了历史学家和观众如何以数字方式重建，更重要的是，重新体验戏剧空间，如英国玫瑰剧院和其他文化遗址。本书的三位合著者--朱莉-霍利奇（Julie Holledge）、乔纳森-博伦（Jonathan Bollen）和乔安妮-汤普金斯（Joanne Tompkins）--曾合作开展过数字人文项目，包括《全球玩偶之家》（A Global Doll's House）：易卜生与遥远的愿景》（2016 年）。十多年来，汤普金斯一直领导着虚拟环境 Ortelia 的开发工作（参见汤普金斯和德尔布里奇，《电子可视化与艺术》，2009 年），包括为一系列画廊和文化环境进行的开发工作。失落剧院的可视化》详细介绍了虚拟现实（VR）重建作为历史剧院空间的重现和推测性再想象的理论和实践方法。作者详细介绍了特定剧院的虚拟环境不仅可以促进对过去更深入、更 [第 115 页结束] 细致入微的了解，还可以通过动作捕捉和在虚拟模型中工作的 "演员-研究者 "的参与来培养新的表演。对过去的体验及其想象力的再创造为舞台上的行为和观众可能的反应提供了历史性的见解。本书的多模态学术研究与表演的活力相呼应，为历史学家及其观众在历史模型和历史背景下提供了新的视角。失落剧场的可视化》结构简单直观，开篇以清晰有力的导言介绍了书中详述的观点、历史和实践，随后是案例研究和简短的结论。五个案例...
{"title":"Visualising Lost Theatres: Virtual Praxis and the Recovery of Performance Spaces by Joanne Tompkins (review)","authors":"Sarah Bay-Cheng","doi":"10.1353/tj.2024.a929525","DOIUrl":"https://doi.org/10.1353/tj.2024.a929525","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>Visualising Lost Theatres: Virtual Praxis and the Recovery of Performance Spaces</em> by Joanne Tompkins <!-- /html_title --></li> <li> Sarah Bay-Cheng </li> </ul> <em>VISUALISING LOST THEATRES: VIRTUAL PRAXIS AND THE RECOVERY OF PERFORMANCE SPACES</em>. By Joanne Tompkins, Julie Holledge, Jonathan Bollen, and Liyang Xia. Cambridge Studies in Modern Theatre. Cambridge: Cambridge University Press, 2022; pp. 211. <p>Over the past twenty years, practices associated with the digital humanities have become more common in theatre and performance studies, as scholars engaged modes of research, analysis, and publication beyond the printed text. Even prior to widespread digital tools, theatre historians drew on communication technologies—photography, radio, film, video—to capture, analyze, replay, and convey past performances. Each technological advance added new dimensions to the multisensory experience of performance, including sound and movement captured in increasing detail and scope. Resources such as Theatre on Film and Tape Archive at the New York Public Library, theatre documentaries circulating on VHS, or a variety of bootlegs illicitly copied and recopied for theatre history classes added to the formal and informal networks of theatre history recordings. With the advent of digital recordings, the internet, and virtual environments, both the documentation and scholarship circulated more broadly.</p> <p>Yet, even as theatre recordings proliferated throughout the twentieth century, the discourse around them focused primarily on their lack of fidelity to the original performances. In the early 2000s, this emphasis began to change as scholarly narratives drew attention to the role that performance recordings and reenactments play as evidence in historical theatre narratives. Books ranging from Diana Taylor’s <em>The Archive and the Repertoire: Performing Cultural Memory in the Americas</em> (2003) to Toni Sant’s <em>Documenting Performance: The Context and Processes of Digital Curation and Archiving</em> (2017) explore how digital technologies create different kinds of performance records. The last ten years have seen the most significant shifts, as theatre scholars engaged the digital humanities to create resources beyond the printed book in digital projects such as Jennifer Roberts-Smith’s Simulated Environment for Theatre (SET) and the Comédie-Française Registers Project (CFRP), among others. Published in 2021, Miguel Escobar Varela’s <em>Theater as Data: Computational Journeys into Theater Research</em> provides an excellent overview with detailed explanations of this emerging field’s best practices. Drawing on both his own work and others’, Varela documents how researchers integrate digital methods and technologies into the study of theatrical performance.</p> <p>The coauthored book <em>Visualis","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"31 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-06-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141264773","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}
Below the Blanket (2019), a performance installation at the Royal Botanic Garden Edinburgh, staged the enmeshed multispecies relationships present in the Flow Country, the largest blanket bog system in the world. While Below the Blanket represented the Flow Country through various artistic mediums, the physical matter—the sphagnum and peat mosses—that comprises the bog was conspicuously absent. Using critical plant theory, ecodramaturgies, and performance theory, this article grapples with the ethics of staging ecological matter such as mosses within the colonial contexts of the botanic garden and provides insights into the complex ethics of ecological performance.
摘要：爱丁堡皇家植物园的表演装置 "毯下"（Below the Blanket，2019 年）展现了世界上最大的毯状沼泽系统 "流之国"（Flow Country）中错综复杂的多物种关系。虽然 "毯子之下 "通过各种艺术媒介表现了 "流之国"，但构成沼泽的物质--泥炭藓和泥炭藓--却明显缺席。本文运用批判性植物理论、生态戏剧理论和表演理论，探讨了在植物园的殖民背景下上演苔藓等生态物质的伦理问题，并对复杂的生态表演伦理提出了见解。
{"title":"Performing Sphagnum: Ecological Ethics in Cryptic's Below the Blanket","authors":"Angenette Spalink","doi":"10.1353/tj.2024.a929511","DOIUrl":"https://doi.org/10.1353/tj.2024.a929511","url":null,"abstract":"<p><p>Abstract:</p><p><i>Below the Blanket</i> (2019), a performance installation at the Royal Botanic Garden Edinburgh, staged the enmeshed multispecies relationships present in the Flow Country, the largest blanket bog system in the world. While <i>Below the Blanket</i> represented the Flow Country through various artistic mediums, the physical matter—the sphagnum and peat mosses—that comprises the bog was conspicuously absent. Using critical plant theory, ecodramaturgies, and performance theory, this article grapples with the ethics of staging ecological matter such as mosses within the colonial contexts of the botanic garden and provides insights into the complex ethics of ecological performance.</p></p>","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"26 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-06-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141264788","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In lieu of an abstract, here is a brief excerpt of the content:
Reviewed by:
The Wife of Willesden by Zadie Smith
Carla Neuss
THE WIFE OF WILLESDEN. By Zadie Smith. Directed by Indhu Rubasingham. Brooklyn Academy of Music, New York. April 16, 2023.
Zadie Smith’s The Wife of Willesden, which premiered in November 2021 at London’s Kiln Theatre, transposes Chaucer’s (in)famous Wife of Bath from The Canterbury Tales to the present-day, multicultural suburb of London named in the title. For those needing a refresher on fourteenth-century literature, Chaucer’s magnum opus is comprised of twenty-four stories told by medieval English travelers to pass the time while on a pilgrimage to Canterbury Cathedral. The stories range from biography to sermons, farce to fantasy, but the Wife of Bath’s tale has had particular staying power due to her proto-feminist narrative of sexual fulfillment and female autonomy.
In Smith’s reimagining of Chaucer’s original, the Canterbury road is relocated to a pub in contemporary Willesden that is holding an open-mic storytelling night. Using this conceit, Smith reincarnates Alyson, Chaucer’s Wife of Bath, as Alvita, a British Jamaican woman in her fifties who, like Alyson, has been married five times and is more than happy to recount the story of her misadventures in love and matrimony. In addition to her titillating autobiography, Alvita, like Alyson, offers her audience a tale that promises to divulge what women really want. Smith’s theatrical adaptation is loyal to the narrative structure of Chaucer’s text; the play devotes sixty minutes of its one-hundred-minute run time to Alvita’s account of her life and lovers. The final thirty minutes feature the story of a rapacious knight who must ascertain the true desire of women or else forfeit his life, but transposed to a mythic colonial Jamaica instead of the idylls of medieval England.
Smith maintains some key aspects of Chaucer’s original: her dialogue features a rhyme scheme that echoes Chaucer’s poetic meter; her Alvita, played virtuosically by Clare Perkins, is as arresting and entertaining as Chaucer’s Alyson; and her use of [End Page 99] contemporary slang cannily captures the cheek and wit of Chaucer’s pantheon of personalities. In other ways, though, The Wife of Willesden faltered in attempting to transpose its literary source material to the dialogic medium of the stage. Smith’s Alvita was backed up by an ensemble of nine other players who enacted her story as she narrativized it; however, the production at times seemed to reduce the ensemble to dioramic puppets, whose actions merely served as visual aids against which Alvita’s monologue played. In this way, it struck me that the Wife of Bath’s tale would perhaps be in better company not with ensemble-based performance but wit
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