<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>Play Time: Gender, Anti-Semitism and Temporality in Medieval Biblical Drama</em> by Daisy Black <!-- /html_title --></li> <li> Christopher Swift </li> </ul> <em>Play Time: Gender, Anti-Semitism And Temporality In Medieval Biblical Drama</em>. By Daisy Black. Manchester: Manchester University Press, 2020; pp. 248. <p>On the subject of late medieval English plays, Daisy Black’s <em>Play Time: Gender, Anti-Semitism and Temporality in Medieval Biblical Drama</em> gambols among three important critical inquiries from the last few decades. The author conducts close readings of four canonical dramas and situates her readings in conversation with a dazzling array of theorists and historians in medieval studies. Her original contribution to the study of medieval biblical drama is her engagement with gender and critical race studies to uncover subjective experiences of time that disrupted the linear, supersessionary models from the Bible. Black argues that rebellious, heterodox, and ignoble characters, and the incongruous juxtaposition of stage and scriptural time, offered audiences unique experiences of familiar religious stories. By staging these alternative renditions in pedestrian spaces outside the jurisdiction of the Church, the lay producers disrupted the typology of Christian history.</p> <p>Informed by Carolyn Dinshaw, Jonathan Gil Harris, and Kathleen Davis, among others, Black employs spatial and somatic metaphors for understanding diverse theatricalizations of time. Black focuses on characters in English drama who subvert the Christian supersessionary model by expressing the sense of time as it pauses, meanders, repeats, remembers, and folds in on itself. She writes that “negotiations of time lie behind some of the most fraught depictions of conflict staged between biblical characters” (12), describing the ways in which the subjective experiences of time by those characters resist orthodoxy. Since conventional typologies of Christian history underscored the inevitability of the sacrifice of Christ, moments that undermined these typologies would have been compellingly affective. Importantly, Black demonstrates how these irregular figures of temporality confounded hegemonic constructions of gender and antisemitic tropes from the period. Alternative temporalities in the plays were revealed in scenes of conflict between men and women, Christians and non-Christians, and characters sacred and profane.</p> <p>The dramatization of the domestic relationship of Joseph and Mary in the N-Town manuscript is the subject of chapter 1. As was typical in many medieval narratives, Joseph’s Jewishness is characterized by his impotent, aging body and doubts about Mary’s miraculous pregnancy. In the drama, the antisemitic attribute of intractable literalness contrasts with the ethereal, vessel-like quality of Mary.
以下是内容的简要摘录，以代替摘要：评论者 Play Time: Gender, Anti-Semitism and Temporality in Medieval Biblical Drama by Daisy Black Christopher Swift Play Time: Gender, Anti-Semitism And Temporality In Medieval Biblical Drama.作者：黛西-布莱克。曼彻斯特：曼彻斯特大学出版社，2020 年；第 248 页。关于中世纪晚期英国戏剧的主题，黛西-布莱克的《游戏时间：中世纪圣经戏剧中的性别、反犹太主义和时间性》在过去几十年的三部重要批评研究著作中博弈。作者对四部经典戏剧进行了近距离解读，并将她的解读与中世纪研究领域众多理论家和历史学家进行了对话。她对中世纪圣经戏剧研究的独创性贡献在于，她与性别研究和批判性种族研究相结合，揭示了时间的主观体验，这些主观体验打破了《圣经》中的线性、超越性模式。布莱克认为，叛逆、异端和无耻的角色，以及舞台与圣经时间的不协调并置，为观众提供了对熟悉的宗教故事的独特体验。通过在教会管辖范围之外的步行空间上演这些另类演绎，非专业制作人打破了基督教历史的类型学。布莱克在卡罗琳-丁肖、乔纳森-吉尔-哈里斯和凯瑟琳-戴维斯等人的启发下，运用空间和躯体隐喻来理解不同的时间戏剧化。布莱克重点研究了英国戏剧中的人物，他们通过表达时间的停顿、蜿蜒、重复、记忆和折叠，颠覆了基督教的超时空模式。她写道："在《圣经》人物之间上演的一些最激烈的冲突描写背后，都隐藏着对时间的协商"（12），描述了这些人物对时间的主观体验是如何抵制正统观念的。由于基督教历史的传统类型学强调了基督牺牲的必然性，因此破坏这些类型学的时刻就会具有引人注目的感染力。重要的是，布莱克展示了这些不规则的时间性人物是如何与当时的性别霸权结构和反犹主义套路相冲突的。剧中男女、基督徒与非基督徒以及神圣与亵渎人物之间的冲突场面揭示了另一种时间性。N-Town 手稿中约瑟夫和马利亚家庭关系的戏剧化是第 1 章的主题。与许多中世纪叙事中的典型情况一样，约瑟夫的犹太特征是他阳痿、衰老的身体以及对玛丽神奇怀孕的怀疑。在剧中，反犹太特性中顽固的字面意义与马利亚空灵、容器般的品质形成了鲜明对比。当约瑟夫放弃肉体的执着，以未出生基督养父的身份进入基督教时代时，约瑟夫的疑惑便迎刃而解。虽然一些评论家认为该剧是对希伯来律法劣根性的传统反击，但布莱克对文本的细致解析表明，"原本可能是直截了当的线性皈依叙事，却因基督教时间的模糊性而陷入困境"（66）。矛盾性是基督教关注《新约圣经》取代《希伯来圣经》的核心所在，这种诠释学建立在犹太历史之上，同时又试图掩盖犹太历史。这些戏剧并没有破坏一成不变的教义，而是利用了《圣经》类型学中固有的神学弱点。在第 2 章中，《约克-诺亚》中诺亚与妻子之间的性格冲突模糊了过去与现在的界限，从而破坏了超时代的时间。诺亚的妻子是一个 "破坏性的声音"，她与《圣经》中其他女性角色一样，表达了对丈夫和上帝的不服从。布莱克首先赞同将诺亚的妻子解释为 "不守规矩的另类"，她最终受到了迪鲁维故事的约束。然后，她展示了诺亚的妻子如何拒绝忘记迅速消失的过去，从而破坏了她丈夫向前迈进的尝试，因为上帝抹掉了（几乎所有的）创造物，从而使这一解读变得更加复杂。布莱克在讨论汤尼手稿《牧羊人的第二部戏剧》中的多重、同性恋时间体验时，为研究英国中世纪最著名的戏剧之一做出了有意义的贡献。在不贬低本书其他主题价值的前提下，这一章对我来说是最吸引人的。布莱克以精彩的细节说明了基督教在圣餐和道成肉身的象征意义下对肉体、性、生殖和消费的焦虑。在剧中，一个巴赫金尼 [尾页 132...
{"title":"Play Time: Gender, Anti-Semitism and Temporality in Medieval Biblical Drama by Daisy Black (review)","authors":"Christopher Swift","doi":"10.1353/tj.2024.a929537","DOIUrl":"https://doi.org/10.1353/tj.2024.a929537","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>Play Time: Gender, Anti-Semitism and Temporality in Medieval Biblical Drama</em> by Daisy Black <!-- /html_title --></li> <li> Christopher Swift </li> </ul> <em>Play Time: Gender, Anti-Semitism And Temporality In Medieval Biblical Drama</em>. By Daisy Black. Manchester: Manchester University Press, 2020; pp. 248. <p>On the subject of late medieval English plays, Daisy Black’s <em>Play Time: Gender, Anti-Semitism and Temporality in Medieval Biblical Drama</em> gambols among three important critical inquiries from the last few decades. The author conducts close readings of four canonical dramas and situates her readings in conversation with a dazzling array of theorists and historians in medieval studies. Her original contribution to the study of medieval biblical drama is her engagement with gender and critical race studies to uncover subjective experiences of time that disrupted the linear, supersessionary models from the Bible. Black argues that rebellious, heterodox, and ignoble characters, and the incongruous juxtaposition of stage and scriptural time, offered audiences unique experiences of familiar religious stories. By staging these alternative renditions in pedestrian spaces outside the jurisdiction of the Church, the lay producers disrupted the typology of Christian history.</p> <p>Informed by Carolyn Dinshaw, Jonathan Gil Harris, and Kathleen Davis, among others, Black employs spatial and somatic metaphors for understanding diverse theatricalizations of time. Black focuses on characters in English drama who subvert the Christian supersessionary model by expressing the sense of time as it pauses, meanders, repeats, remembers, and folds in on itself. She writes that “negotiations of time lie behind some of the most fraught depictions of conflict staged between biblical characters” (12), describing the ways in which the subjective experiences of time by those characters resist orthodoxy. Since conventional typologies of Christian history underscored the inevitability of the sacrifice of Christ, moments that undermined these typologies would have been compellingly affective. Importantly, Black demonstrates how these irregular figures of temporality confounded hegemonic constructions of gender and antisemitic tropes from the period. Alternative temporalities in the plays were revealed in scenes of conflict between men and women, Christians and non-Christians, and characters sacred and profane.</p> <p>The dramatization of the domestic relationship of Joseph and Mary in the N-Town manuscript is the subject of chapter 1. As was typical in many medieval narratives, Joseph’s Jewishness is characterized by his impotent, aging body and doubts about Mary’s miraculous pregnancy. In the drama, the antisemitic attribute of intractable literalness contrasts with the ethereal, vessel-like quality of Mary.","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":"141264766","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>76th Festival D’avignon</em> <!-- /html_title --></li> <li> Ljubiša Matić </li> </ul> <em>76TH FESTIVAL D’AVIGNON</em>. Palais des Papes and various other venues, Avignon, France. July 7–26, 2022. <p>After the collective trauma that made the live (co-) presence of people in public irrelevant, or even dangerous, the breath of a certain freedom soared afresh along the ramparts of Avignon. The longest-running theatre festival in France was canceled due to the COVID-19 pandemic in 2020, and then returned in 2021 with strict “social distancing” measures in place, which brought forth an atmosphere of crowd management, surveillance, and insecurity. In July 2022, those restrictions were rescinded, which allowed the Festival to once more pervade the one-half-square-mile within the fortifications of the former City of Popes that houses upward of two hundred performing venues. Given that theatre attendance in France had plummeted by as much as thirty percent compared to pre-COVID times, theatre companies were eager to embrace the Avignon festival as a way to revitalize attendance at live art events.</p> <p>By dehierarchizing and depersonalizing dramatis personae, as well as assembling them as choruses and in chorus-like configurations, several festival productions reflected on the tensions surrounding contemporary collectivism. Specificall, the festival spoke to lingering tensions regarding governmental policies enacted during the pandemic in the name of collective values and public health, which were perceived by some members of the public as examples of latent authoritarianism. As if to suggest ways out of this impasse, the choral formations, as well as the dehierarchization of dramatic character, necessitated performers’ multidisciplinary versatility and volatility, hinting at an artistic ambivalence that elided overt contestations between the state and the individual.</p> <p>After Russian authorities disbanded his Moscow theatre, the popular Gogol Center, Kirill Serebrennikov became the first Russian artist to have the honor of opening the Avignon festivities with a premiere at the Palais des Papes. Although the director had long been considered an opponent of Vladimir Putin’s politics, and since 2021 an antiwar spokesman to boot, he was chosen as the festival’s drawing card long before the February 2022 onset of Russia’s invasion of Ukraine. By the same token, his conceptualization of the play <em>The Black Monk</em> (<em>The Чёрный Mönch</em>)—co-produced by the Gogol Center, Hamburg’s Thalia Theater, and, as rumor had it, Russian tycoons who defected to Berlin—predated the war’s outbreak. The mixed critical reception of the show, which had attracted considerable attention from festivalgoers, was due partly to the audience’s inflated expectations as well as to the artistic team’s unfulfilled ambitions
{"title":"76th Festival D'avignon (review)","authors":"Ljubiša Matić","doi":"10.1353/tj.2024.a929520","DOIUrl":"https://doi.org/10.1353/tj.2024.a929520","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>76th Festival D’avignon</em> <!-- /html_title --></li> <li> Ljubiša Matić </li> </ul> <em>76TH FESTIVAL D’AVIGNON</em>. Palais des Papes and various other venues, Avignon, France. July 7–26, 2022. <p>After the collective trauma that made the live (co-) presence of people in public irrelevant, or even dangerous, the breath of a certain freedom soared afresh along the ramparts of Avignon. The longest-running theatre festival in France was canceled due to the COVID-19 pandemic in 2020, and then returned in 2021 with strict “social distancing” measures in place, which brought forth an atmosphere of crowd management, surveillance, and insecurity. In July 2022, those restrictions were rescinded, which allowed the Festival to once more pervade the one-half-square-mile within the fortifications of the former City of Popes that houses upward of two hundred performing venues. Given that theatre attendance in France had plummeted by as much as thirty percent compared to pre-COVID times, theatre companies were eager to embrace the Avignon festival as a way to revitalize attendance at live art events.</p> <p>By dehierarchizing and depersonalizing dramatis personae, as well as assembling them as choruses and in chorus-like configurations, several festival productions reflected on the tensions surrounding contemporary collectivism. Specificall, the festival spoke to lingering tensions regarding governmental policies enacted during the pandemic in the name of collective values and public health, which were perceived by some members of the public as examples of latent authoritarianism. As if to suggest ways out of this impasse, the choral formations, as well as the dehierarchization of dramatic character, necessitated performers’ multidisciplinary versatility and volatility, hinting at an artistic ambivalence that elided overt contestations between the state and the individual.</p> <p>After Russian authorities disbanded his Moscow theatre, the popular Gogol Center, Kirill Serebrennikov became the first Russian artist to have the honor of opening the Avignon festivities with a premiere at the Palais des Papes. Although the director had long been considered an opponent of Vladimir Putin’s politics, and since 2021 an antiwar spokesman to boot, he was chosen as the festival’s drawing card long before the February 2022 onset of Russia’s invasion of Ukraine. By the same token, his conceptualization of the play <em>The Black Monk</em> (<em>The Чёрный Mönch</em>)—co-produced by the Gogol Center, Hamburg’s Thalia Theater, and, as rumor had it, Russian tycoons who defected to Berlin—predated the war’s outbreak. The mixed critical reception of the show, which had attracted considerable attention from festivalgoers, was due partly to the audience’s inflated expectations as well as to the artistic team’s unfulfilled ambitions","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"77 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-06-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141264769","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>Theatre in Market Economies</em> by Michael McKinnie <!-- /html_title --></li> <li> Alex Ferrone </li> </ul> <em>THEATRE IN MARKET ECONOMIES</em>. By Michael McKinnie. Theatre and Performance Theory. Cambridge: Cambridge University Press, 2021; pp. 203. <p>In his lucid and insightful book <em>Theatre in Market Economies</em>, Michael McKinnie pulls no punches, something immediately evident in his pithy opening sentence: “Keynes was wrong” (1). In the five chapters that follow, McKinnie gathers case studies that reveal a theatre industry increasingly taking up the mantle of the “mixed economy”—i.e., the practice of “combin[ing] economic efficiency with social security, while promoting liberal democracy”—a shift that has coincided with the decline of center-left social democratic politics while “the tools of the welfare state have been used to regulate ever more closely the lives of citizens rather than the operations of markets” (2). The book covers the late 1990s to the present day, a period that McKinnie identifies as a “key transitional phase” in the Western political economy, between “the ascendancy, and then unravelling, of the centre-left ‘Third Way’ and the subsequent emergence, and then entrenchment, of the age of austerity (with the 2008 financial crisis as the linchpin connecting them)” (4).</p> <p>McKinnie’s central argument is that the theatre is not merely a subject of the political economy but an active agent and performer of political economy itself. What makes his analysis so compelling is his sober, even-handed approach: he avoids those sometimes uncritical maneuvers—not uncommon in our field—that romanticize the theatre by glossing over its more politically ambiguous practices. He points out, for instance, that the production of theatrical ephemera dovetails rather neatly with a neoliberal labor market whose output has become increasingly immaterial, wondering if “theatre—as a key player in the creative industries—has helped exacerbate the defects of an economy that speculates rather than produces actual things” (5). The theatre, ultimately, “is neither heroically resistant nor bluntly instrumental—it is a much more complicated picture than that” (23).</p> <p>This ambiguity is vertebral to McKinnie’s book: the theatrical political economies he discusses reveal that the theatre is able successfully to “capitalise upon the processes of marketisation, while resolving (or at least managing) the social antagonisms that marketisation leaves in its wake” (6). Part of his methodology involves widening the scope of what constitutes the economic. For this reason, so-called economics plays—David Hare’s <em>The Power of Yes</em>, Lucy Prebble’s <em>Enron</em>, Caryl Churchill’s <em>Serious Money</em>—are not the focus of McKinnie’s study. He explains that the genre “can sometimes treat the e
{"title":"Theatre in Market Economies by Michael McKinnie (review)","authors":"Alex Ferrone","doi":"10.1353/tj.2024.a929530","DOIUrl":"https://doi.org/10.1353/tj.2024.a929530","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>Theatre in Market Economies</em> by Michael McKinnie <!-- /html_title --></li> <li> Alex Ferrone </li> </ul> <em>THEATRE IN MARKET ECONOMIES</em>. By Michael McKinnie. Theatre and Performance Theory. Cambridge: Cambridge University Press, 2021; pp. 203. <p>In his lucid and insightful book <em>Theatre in Market Economies</em>, Michael McKinnie pulls no punches, something immediately evident in his pithy opening sentence: “Keynes was wrong” (1). In the five chapters that follow, McKinnie gathers case studies that reveal a theatre industry increasingly taking up the mantle of the “mixed economy”—i.e., the practice of “combin[ing] economic efficiency with social security, while promoting liberal democracy”—a shift that has coincided with the decline of center-left social democratic politics while “the tools of the welfare state have been used to regulate ever more closely the lives of citizens rather than the operations of markets” (2). The book covers the late 1990s to the present day, a period that McKinnie identifies as a “key transitional phase” in the Western political economy, between “the ascendancy, and then unravelling, of the centre-left ‘Third Way’ and the subsequent emergence, and then entrenchment, of the age of austerity (with the 2008 financial crisis as the linchpin connecting them)” (4).</p> <p>McKinnie’s central argument is that the theatre is not merely a subject of the political economy but an active agent and performer of political economy itself. What makes his analysis so compelling is his sober, even-handed approach: he avoids those sometimes uncritical maneuvers—not uncommon in our field—that romanticize the theatre by glossing over its more politically ambiguous practices. He points out, for instance, that the production of theatrical ephemera dovetails rather neatly with a neoliberal labor market whose output has become increasingly immaterial, wondering if “theatre—as a key player in the creative industries—has helped exacerbate the defects of an economy that speculates rather than produces actual things” (5). The theatre, ultimately, “is neither heroically resistant nor bluntly instrumental—it is a much more complicated picture than that” (23).</p> <p>This ambiguity is vertebral to McKinnie’s book: the theatrical political economies he discusses reveal that the theatre is able successfully to “capitalise upon the processes of marketisation, while resolving (or at least managing) the social antagonisms that marketisation leaves in its wake” (6). Part of his methodology involves widening the scope of what constitutes the economic. For this reason, so-called economics plays—David Hare’s <em>The Power of Yes</em>, Lucy Prebble’s <em>Enron</em>, Caryl Churchill’s <em>Serious Money</em>—are not the focus of McKinnie’s study. He explains that the genre “can sometimes treat the e","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"99 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-06-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141264783","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>Stars: An Afrofuturist Space Odyssey</em> by Mojisola Adebayo <!-- /html_title --></li> <li> Isabel Stuart </li> </ul> <em>STARS: AN AFROFUTURIST SPACE ODYSSEY</em>. By Mojisola Adebayo. Directed by Gail Babb and S. Ama Wray. Institute of Contemporary Arts, London. May 3, 2023. <p><em>STARS</em>, a play by Mojisola Adebayo, centers around an older Black woman, Mrs, who has spent her life searching the universe for an orgasm. Her neglectful husband, Mr, who never even briefly considered Mrs’s pleasure, has died, opening new possibilities for Mrs to live her life without the patriarchal limitations placed on her by Mr’s presence. The Black feminist politics of <em>STARS</em> is deeply connected to finding hope and joy both in the everyday and in far-reaching imaginations of other galaxies before and beyond our current world. This combination of domesticity and otherworldliness, where pleasure is both tied to the present and flying off into the future, underlies the political efficac of Adebayo’s ambitious exploration of Black feminist and queer joy in <em>STARS</em>.</p> <p>Creating an atmosphere—or, perhaps more accurately, a “vibe”—of enjoyment and pleasure was integral to the politics of <em>STARS</em> even before the performance began. As the audience entered the performance space, we could choose from either sitting in standard theatre seats near the back or lying down on beanbags near the front of the stage, as if gazing up at a starry night, situating the audience within the astronautical world of the production. <strong>[End Page 112]</strong> The raked circular stage was illuminated by a ring of light, as if the stage were a faraway planet that Mrs was exploring. Atop this planet-like stage was a homely scene made up of a table and chair and a fridge, which, once spun around, turned into a washing machine. This set design (by Miriam Nabarro) combined the domestic with the intergalactic, highlighting the sense of discovery and wonder that can be found in the everyday while also suggesting a home that is emotionally off-balance</p> <br/> Click for larger view<br/> View full resolution <p>Debra Michaels (Mrs) in STARS: An Afrofuturist Space Odyssey. (Photo: Ali Wright; courtesy of Tamasha.)</p> <p></p> <p>As the audience entered, there was a live DJ to the left of the stage playing a mix of house music and techno, creating an atmosphere reminiscent of a 1990s nightclub. Following this theme, on two nights of the run, <em>STARS</em> transformed from a play into a celebratory club right after the show had finished, featuring multiple DJs, dancing, and popup performances from characters in the show. This experimentation with and expansion of the theatrical form produced a multimedia experience that spanned artforms and generations, from African folklore and mythology to the unimagined realms of
以下是内容的简要摘录，以代替摘要：评论者： Stars：莫吉索拉-阿德巴约-伊莎贝尔-斯图尔特的《星星：非洲未来主义太空奥德赛》：非洲未来主义太空奥德赛》。莫吉索拉-阿德巴约著。导演：盖尔-巴布（Gail Babb）和 S. 阿玛-雷（S. Ama Wray）。伦敦当代艺术学院。2023 年 5 月 3 日。莫吉索拉-阿德巴约（Mojisola Adebayo）的话剧《星辰》围绕着一位年长的黑人妇女夫人展开，她一生都在宇宙中寻找性高潮。她疏于照顾自己的丈夫先生去世了，他甚至从未考虑过夫人的快乐，这为夫人的生活带来了新的可能性，使她摆脱了因先生的存在而受到的父权限制。星星》中的黑人女性主义政治与在日常生活中寻找希望和快乐，以及在对我们当前世界之前和之外的其他星系的深远想象中寻找希望和快乐有着深刻的联系。阿德巴约在《STARS》中对黑人女权主义者和同性恋者的快乐进行了雄心勃勃的探索，这种家庭性与异世界性的结合，即快乐既与当下相连，又飞向未来，是其政治效果的基础。甚至在演出开始之前，营造一种享受和快乐的氛围--或许更准确地说，是一种 "氛围"--就已经成为《STARS》政治不可或缺的一部分。当观众进入演出空间时，我们可以选择坐在靠近舞台后部的标准剧场座椅上，或者躺在靠近舞台前部的豆袋上，就像仰望星空一样，让观众置身于这部作品的宇航世界中。[第 112 页末】弧形的圆形舞台被一圈光环照亮，仿佛舞台是夫人正在探索的遥远星球。在这个星球般的舞台之上，是由一张桌子、一把椅子和一台冰箱组成的温馨场景。这个布景设计（由 Miriam Nabarro 设计）将家庭与星际结合在一起，突出了日常生活中的发现感和惊奇感，同时也暗示了一个情感失衡的家 点击查看大图 查看完整分辨率 《星际迷航》中的黛布拉-迈克尔斯（夫人）：非洲未来主义太空奥德赛》。(照片：Ali Wright；Tamasha 提供）观众入场时，舞台左侧有一位现场 DJ 播放着混合了 House 音乐和电子乐的音乐，营造出一种上世纪 90 年代夜总会的氛围。根据这一主题，在演出的两个晚上，《STARS》在演出结束后立即从一出戏剧变成了一个庆祝俱乐部，有多个 DJ、舞蹈和剧中人物的临时表演。这种对戏剧形式的尝试和拓展产生了一种跨越艺术形式和时代的多媒体体验，从非洲民间传说和神话到外太空的未知领域。无论是作品本身还是周围的氛围，都营造出了一种非洲未来主义的视野，毫不掩饰地体现了同性恋和女权主义。尽管愉悦和享受是《星际迷航》得以制作并获得好评的关键，但这部作品同时也具有强烈的政治性，并不乏令人心碎的情节。作为一名六十多岁的工人阶级黑人妇女，她终于摆脱了虐待她的丈夫，而她自己的挣扎，以及她在旅途中遇到的人们的挣扎，都是她决心体验女性快感的标志。明星》主要是一部独角戏（除了现场 DJ 布拉德利-查尔斯之外，他还扮演夫人基本不在身边的儿子）；黛布拉-迈克尔斯扮演夫人以及剧中的所有其他角色。玛丽亚姆是剧中的一个重要角色，她是一名年轻的穆斯林女孩，曾敲开夫人的房门，要求使用她的厕所。初次见面后，玛丽亚姆和夫人成了朋友，因为玛丽亚姆经常回她家上厕所，并做关于外太空的学校作业。和夫人一样，玛丽亚姆也对外太空世界非常着迷。舞台后面的屏幕上放映的动画支持了她们关于外星探索的想象对话，这些动画旨在捕捉 Mrs 和 Maryam 对其他世界的广阔想象。这些动画配以富有创意的字幕，在展示阿德巴约抒情诗般的剧本的同时，也是一种无障碍工具。[尾页 113] 随着玛丽亚姆分享了更多关于她生活的信息，夫人发现她曾经历过生殖器切割。这两个角色...
{"title":"Stars: An Afrofuturist Space Odyssey by Mojisola Adebayo (review)","authors":"Isabel Stuart","doi":"10.1353/tj.2024.a929524","DOIUrl":"https://doi.org/10.1353/tj.2024.a929524","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>Stars: An Afrofuturist Space Odyssey</em> by Mojisola Adebayo <!-- /html_title --></li> <li> Isabel Stuart </li> </ul> <em>STARS: AN AFROFUTURIST SPACE ODYSSEY</em>. By Mojisola Adebayo. Directed by Gail Babb and S. Ama Wray. Institute of Contemporary Arts, London. May 3, 2023. <p><em>STARS</em>, a play by Mojisola Adebayo, centers around an older Black woman, Mrs, who has spent her life searching the universe for an orgasm. Her neglectful husband, Mr, who never even briefly considered Mrs’s pleasure, has died, opening new possibilities for Mrs to live her life without the patriarchal limitations placed on her by Mr’s presence. The Black feminist politics of <em>STARS</em> is deeply connected to finding hope and joy both in the everyday and in far-reaching imaginations of other galaxies before and beyond our current world. This combination of domesticity and otherworldliness, where pleasure is both tied to the present and flying off into the future, underlies the political efficac of Adebayo’s ambitious exploration of Black feminist and queer joy in <em>STARS</em>.</p> <p>Creating an atmosphere—or, perhaps more accurately, a “vibe”—of enjoyment and pleasure was integral to the politics of <em>STARS</em> even before the performance began. As the audience entered the performance space, we could choose from either sitting in standard theatre seats near the back or lying down on beanbags near the front of the stage, as if gazing up at a starry night, situating the audience within the astronautical world of the production. <strong>[End Page 112]</strong> The raked circular stage was illuminated by a ring of light, as if the stage were a faraway planet that Mrs was exploring. Atop this planet-like stage was a homely scene made up of a table and chair and a fridge, which, once spun around, turned into a washing machine. This set design (by Miriam Nabarro) combined the domestic with the intergalactic, highlighting the sense of discovery and wonder that can be found in the everyday while also suggesting a home that is emotionally off-balance</p> <br/> Click for larger view<br/> View full resolution <p>Debra Michaels (Mrs) in STARS: An Afrofuturist Space Odyssey. (Photo: Ali Wright; courtesy of Tamasha.)</p> <p></p> <p>As the audience entered, there was a live DJ to the left of the stage playing a mix of house music and techno, creating an atmosphere reminiscent of a 1990s nightclub. Following this theme, on two nights of the run, <em>STARS</em> transformed from a play into a celebratory club right after the show had finished, featuring multiple DJs, dancing, and popup performances from characters in the show. This experimentation with and expansion of the theatrical form produced a multimedia experience that spanned artforms and generations, from African folklore and mythology to the unimagined realms of ","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"34 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-06-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141264787","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>Miss Saigon</em> by Alain Boublil and Claude-Michel Schönberg <!-- /html_title --></li> <li> Jayoon Byeon and Jodie Passey </li> </ul> <em>MISS SAIGON</em>. Book by Alain Boublil and Claude-Michel Schönberg. Music by Claude-Michel Schönberg. Lyrics by Alain Boublil and Richard Maltby, Jr. Directed by Robert Hastie and Anthony Lau. Crucible Theatre, Sheffield, UK. August 2, 2023. <p><em>Miss Saigon</em>, despite being one of the most popular megamusicals, has met with significant criticism regarding racial stereotypes and the objectification of women. The original West End and Broadway productions notoriously included the use of yellowface for the role of the Engineer, and recent productions have endeavored to address such racial misrepresentations by hiring actors of appropriate ethnicities. While the regenerative capacity of enduring musicals gives <em>Miss Saigon</em> recurring chances for reinvention, the effectiveness of these efforts is debatable. Some believe it should be maintained in its original form as proof of its problematic past, while others believe that an innately flawed show should be retired. Protests greeted the original West End and Broadway productions in opposition to the damaging portrayals of Vietnamese people, and this protest culture continues today. New Earth Theatre, a company of British East and Southeast Asian artists, pulled their play <em>Worth</em> from the Crucible Theatre in Sheffiel following its decision to stage <em>Miss Saigon</em>. As the issues run deep—both textually and contextually—the very concept of deproblematizing is seen by many as problematic. The brand-new revival at the Crucible chose to pursue an intermediate option between preservation and permanent withdrawal: revision, where changes add a provocative new dimension to the material.</p> <p>The production’s endeavor to revise the racial dynamics of the original show was evident from the casting. While past productions have typically cast white actors as Chris (Christian Maynard) and <strong>[End Page 89]</strong> Ellen (Shanay Holmes), none of the regular or understudy actors who played these roles in this production was white. This change diverts the dynamic between Kim (Jessica Lee), Chris, and Ellen away from the white savior theme, instead highlighting Chris and Ellen’s US nationalism.</p> <br/> Click for larger view<br/> View full resolution <p>Christian Maynard (Chris) and Jessica Lee (Kim) in <em>Miss Saigon</em>. (Photo: Johan Persson.)</p> <p></p> <br/> Click for larger view<br/> View full resolution <p>Shane O’Riordan (John) and Joanna Ampil (The Engineer) in <em>Miss Saigon</em>. (Photo: Johan Persson.)</p> <p></p> <p>Gender-swapping the Engineer (played in this production by Joanna Ampil) was a change that transformed the character in the context of 1970s Vietnam. The female Enginee
{"title":"Miss Saigon by Alain Boublil and Claude-Michel Schönberg (review)","authors":"Jayoon Byeon, Jodie Passey","doi":"10.1353/tj.2024.a929515","DOIUrl":"https://doi.org/10.1353/tj.2024.a929515","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>Miss Saigon</em> by Alain Boublil and Claude-Michel Schönberg <!-- /html_title --></li> <li> Jayoon Byeon and Jodie Passey </li> </ul> <em>MISS SAIGON</em>. Book by Alain Boublil and Claude-Michel Schönberg. Music by Claude-Michel Schönberg. Lyrics by Alain Boublil and Richard Maltby, Jr. Directed by Robert Hastie and Anthony Lau. Crucible Theatre, Sheffield, UK. August 2, 2023. <p><em>Miss Saigon</em>, despite being one of the most popular megamusicals, has met with significant criticism regarding racial stereotypes and the objectification of women. The original West End and Broadway productions notoriously included the use of yellowface for the role of the Engineer, and recent productions have endeavored to address such racial misrepresentations by hiring actors of appropriate ethnicities. While the regenerative capacity of enduring musicals gives <em>Miss Saigon</em> recurring chances for reinvention, the effectiveness of these efforts is debatable. Some believe it should be maintained in its original form as proof of its problematic past, while others believe that an innately flawed show should be retired. Protests greeted the original West End and Broadway productions in opposition to the damaging portrayals of Vietnamese people, and this protest culture continues today. New Earth Theatre, a company of British East and Southeast Asian artists, pulled their play <em>Worth</em> from the Crucible Theatre in Sheffiel following its decision to stage <em>Miss Saigon</em>. As the issues run deep—both textually and contextually—the very concept of deproblematizing is seen by many as problematic. The brand-new revival at the Crucible chose to pursue an intermediate option between preservation and permanent withdrawal: revision, where changes add a provocative new dimension to the material.</p> <p>The production’s endeavor to revise the racial dynamics of the original show was evident from the casting. While past productions have typically cast white actors as Chris (Christian Maynard) and <strong>[End Page 89]</strong> Ellen (Shanay Holmes), none of the regular or understudy actors who played these roles in this production was white. This change diverts the dynamic between Kim (Jessica Lee), Chris, and Ellen away from the white savior theme, instead highlighting Chris and Ellen’s US nationalism.</p> <br/> Click for larger view<br/> View full resolution <p>Christian Maynard (Chris) and Jessica Lee (Kim) in <em>Miss Saigon</em>. (Photo: Johan Persson.)</p> <p></p> <br/> Click for larger view<br/> View full resolution <p>Shane O’Riordan (John) and Joanna Ampil (The Engineer) in <em>Miss Saigon</em>. (Photo: Johan Persson.)</p> <p></p> <p>Gender-swapping the Engineer (played in this production by Joanna Ampil) was a change that transformed the character in the context of 1970s Vietnam. The female Enginee","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"1 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-06-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141264771","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 --> Editorial Comment <!-- /html_title --></li> <li> Ariel Nereson </li> </ul> <p>The March 2024 issue of <em>Theatre Journal</em> comes on the heels of the landmark seventy-fifth anniversary issue (December 2023, coedited by Laura Edmondson and Sean Metzger) and is my first issue as coeditor. To say that I sense the weight of the journal’s history as I step into this role is an understatement. It has been my good fortune that the four essays that were waiting for me exemplify <em>Theatre Journal</em>’s commitment to publishing new historiographic and theoretical interventions into performance. The March issue features two essays that take up distinct sites in Asian American popular performance and demonstrate the diversity of experience, expectation, and intervention found therein, and two essays that theorize performance from very different locations: dirt and drone, other-than-human performers that complicate foundational assumptions about subject, spectator, and actor. As a quartet, the essays energetically mark the beginning of the journal’s next seventy-five years, offering exciting vectors of inquiry that speak to current and evergreen concerns of theatre, dance, and performance studies. Individually, each offers to readers a distinct model of careful, enthusiastic research that broadens the scope of performance studies inquiry.</p> <p>Maria De Simone’s essay introduces (or reintroduces, as the case may be) the reader to the early twentieth-century figure Jue Quon Tai, tracing her performances across North American vaudeville stages and in immigration courtrooms to demonstrate how performance culture impacted the conceptualization of immigration law. De Simone’s essay joins a vibrant conversation in performance studies about performance and the law while also restoring Jue’s fascinating career to already-robust but generally separate histories of early twentieth-century popular entertainment and immigration and citizenship law. In De Simone’s analysis, Jue mobilized her hyphenated Chinese American identity to navigate racist and exclusionary policies on stage and in the courtroom, yet of equal significance is how the extant archive of Jue’s performances documents racialized regimes of perception that were mutually reinforced across aesthetic and legal domains.</p> <p>The entwinement of geopolitics and popular performance continues in Donatella Galella’s exploration of David Henry Hwang and Jeanine Tesori’s 2019 musical <em>Soft Power</em>. For both De Simone and Galella, Asian American identity, critique, and experience form a kind of limit test for the promise of US American democratic inclusion. Galella activates a welcome critique of musical theatre’s affective influence on its audiences and of the ideologies that find support through the deployment of affect and attachment. Through examining the dramaturgy of <em>Soft
{"title":"Editorial Comment","authors":"Ariel Nereson","doi":"10.1353/tj.2024.a929508","DOIUrl":"https://doi.org/10.1353/tj.2024.a929508","url":null,"abstract":"<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span>\u0000<p> <ul> <li><!-- html_title --> Editorial Comment <!-- /html_title --></li> <li> Ariel Nereson </li> </ul> <p>The March 2024 issue of <em>Theatre Journal</em> comes on the heels of the landmark seventy-fifth anniversary issue (December 2023, coedited by Laura Edmondson and Sean Metzger) and is my first issue as coeditor. To say that I sense the weight of the journal’s history as I step into this role is an understatement. It has been my good fortune that the four essays that were waiting for me exemplify <em>Theatre Journal</em>’s commitment to publishing new historiographic and theoretical interventions into performance. The March issue features two essays that take up distinct sites in Asian American popular performance and demonstrate the diversity of experience, expectation, and intervention found therein, and two essays that theorize performance from very different locations: dirt and drone, other-than-human performers that complicate foundational assumptions about subject, spectator, and actor. As a quartet, the essays energetically mark the beginning of the journal’s next seventy-five years, offering exciting vectors of inquiry that speak to current and evergreen concerns of theatre, dance, and performance studies. Individually, each offers to readers a distinct model of careful, enthusiastic research that broadens the scope of performance studies inquiry.</p> <p>Maria De Simone’s essay introduces (or reintroduces, as the case may be) the reader to the early twentieth-century figure Jue Quon Tai, tracing her performances across North American vaudeville stages and in immigration courtrooms to demonstrate how performance culture impacted the conceptualization of immigration law. De Simone’s essay joins a vibrant conversation in performance studies about performance and the law while also restoring Jue’s fascinating career to already-robust but generally separate histories of early twentieth-century popular entertainment and immigration and citizenship law. In De Simone’s analysis, Jue mobilized her hyphenated Chinese American identity to navigate racist and exclusionary policies on stage and in the courtroom, yet of equal significance is how the extant archive of Jue’s performances documents racialized regimes of perception that were mutually reinforced across aesthetic and legal domains.</p> <p>The entwinement of geopolitics and popular performance continues in Donatella Galella’s exploration of David Henry Hwang and Jeanine Tesori’s 2019 musical <em>Soft Power</em>. For both De Simone and Galella, Asian American identity, critique, and experience form a kind of limit test for the promise of US American democratic inclusion. Galella activates a welcome critique of musical theatre’s affective influence on its audiences and of the ideologies that find support through the deployment of affect and attachment. Through examining the dramaturgy of <em>Soft ","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"280 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-06-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141264799","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 Soft Power (2019), David Henry Hwang and Jeanine Tesori deconstruct and demonstrate the affective power of American musicals by reversing The King and I (1951). Soft Power satirizes democracy, white supremacy, and gun violence with whiteface, meta-propaganda, and a sweeping Broadway-style score. In the torch song “Democracy” and its reprise, the artists articulate Asian American ambivalence about US democracy: hope in its promise to lift everyone, despair in its rootedness in racism, and cognizance of musical theatre as a delivery system for ideology. This article uses repetition, interviews, reviews, and dramaturgy to consider Soft Power, soft power, and democracy.
摘要：在《软实力》（2019）中，大卫-亨利-黄（David Henry Hwang）和珍妮-特索里（Jeanine Tesori）通过反转《国王与我》（1951），解构并展示了美国音乐剧的情感力量。软实力》以白脸、元宣传和百老汇风格的配乐讽刺了民主、白人至上和枪支暴力。在火炬歌曲《民主》及其重唱中，艺术家们表达了亚裔美国人对美国民主的矛盾心理：对其提升每个人的承诺充满希望，对其植根于种族主义感到绝望，并认识到音乐剧是意识形态的传递系统。本文通过重复、访谈、评论和剧作来思考软实力、软实力和民主。
{"title":"Democracy, \"Democracy (Reprise),\" and the Asian American Ambivalence of Soft Power","authors":"Donatella Galella","doi":"10.1353/tj.2024.a929510","DOIUrl":"https://doi.org/10.1353/tj.2024.a929510","url":null,"abstract":"<p><p>Abstract:</p><p>In <i>Soft Power</i> (2019), David Henry Hwang and Jeanine Tesori deconstruct and demonstrate the affective power of American musicals by reversing <i>The King and I</i> (1951). <i>Soft Power</i> satirizes democracy, white supremacy, and gun violence with whiteface, meta-propaganda, and a sweeping Broadway-style score. In the torch song “Democracy” and its reprise, the artists articulate Asian American ambivalence about US democracy: hope in its promise to lift everyone, despair in its rootedness in racism, and cognizance of musical theatre as a delivery system for ideology. This article uses repetition, interviews, reviews, and dramaturgy to consider <i>Soft Power</i>, soft power, and democracy.</p></p>","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"22 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-06-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141264765","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>Fat Ham</em> by James Ijames, and: <em>White Girl in Danger</em> by Michael R. Jackson <!-- /html_title --></li> <li> Kevin Byrne </li> </ul> <em>FAT HAM</em>. By James Ijames. Directed by Saheem Ali. American Airlines Theatre, New York. May 13, 2023. <em>WHITE GIRL IN DANGER</em>. Book, music, and lyrics by Michael R. Jackson. Directed by Lileana Blain-Cruz. Vineyard Theatre, New York. May 13, 2023. <p>The overlapping New York runs of James Ijames’s <em>Fat Ham</em> and Michael R. Jackson’s <em>White Girl in Danger</em> brought to the fore some remarkable connections between the two acclaimed productions, which I had the good fortune to see on the same day. Each created dense theatrical landscapes through the appropriation of other texts and genres, using them to complicate and underline the stories they told. <em>Fat Ham</em> is modeled after <em>Hamlet</em>, and <em>White Girl in Danger</em> draws from daytime soap operas in its overall aesthetics and reliance on pastel. Shakespeare and the soaps are full of white stories and white problems, which makes it all the more intriguing when Black artists use them as fodder to tell their own tales. Both have enough cultural currency that their various signifier—skulls for the former, mysterious bruises for the latter—can be easily identified and lovingly remixed.</p> <br/> Click for larger view<br/> View full resolution <p>Marcel Spears (Juicy) and Billy Eugene Jones (Pap) in <em>Fat Ham</em>. (Photo: Joan Marcus.)</p> <p></p> <p>The production history of <em>Fat Ham</em>, from debuting as a streaming production during the pandemic to winning the 2022 Pulitzer Prize for Drama, made its arrival on Broadway even more joyous. The plot of the play unfolds in real time over the course of a particularly fraught wedding celebration. The central character is Juicy, whose mother has recently married his uncle after the sudden, violent death of his father. The setting is the backyard of the family home, and the play begins as Juicy organizes decorations for the party. In Saheem Ali’s production at the American Airlines Theatre, the helium balloons that bobbed around the stage indicated the <strong>[End Page 93]</strong> haste with which the party and the wedding were planned. In a lovely touch, they were festooned, bizarrely, with messages for birthdays, holidays, and get-well-soons. The upstage center of the backyard set was dominated by a large grill that ominously leaked smoke.</p> <br/> Click for larger view<br/> View full resolution <p>The ensemble of <em>Fat Ham</em>. (Photo: Joan Marcus.)</p> <p></p> <p>The show quickly set up the analogues with <em>Hamlet</em>, largely in terms of plot, character, and motivation, which then deepened and strained as the performance went on. Take, for example, the arrival of the father’s ghost, who demanded that Juicy ex
{"title":"Fat Ham by James Ijames, and: White Girl in Danger by Michael R. Jackson (review)","authors":"Kevin Byrne","doi":"10.1353/tj.2024.a929517","DOIUrl":"https://doi.org/10.1353/tj.2024.a929517","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>Fat Ham</em> by James Ijames, and: <em>White Girl in Danger</em> by Michael R. Jackson <!-- /html_title --></li> <li> Kevin Byrne </li> </ul> <em>FAT HAM</em>. By James Ijames. Directed by Saheem Ali. American Airlines Theatre, New York. May 13, 2023. <em>WHITE GIRL IN DANGER</em>. Book, music, and lyrics by Michael R. Jackson. Directed by Lileana Blain-Cruz. Vineyard Theatre, New York. May 13, 2023. <p>The overlapping New York runs of James Ijames’s <em>Fat Ham</em> and Michael R. Jackson’s <em>White Girl in Danger</em> brought to the fore some remarkable connections between the two acclaimed productions, which I had the good fortune to see on the same day. Each created dense theatrical landscapes through the appropriation of other texts and genres, using them to complicate and underline the stories they told. <em>Fat Ham</em> is modeled after <em>Hamlet</em>, and <em>White Girl in Danger</em> draws from daytime soap operas in its overall aesthetics and reliance on pastel. Shakespeare and the soaps are full of white stories and white problems, which makes it all the more intriguing when Black artists use them as fodder to tell their own tales. Both have enough cultural currency that their various signifier—skulls for the former, mysterious bruises for the latter—can be easily identified and lovingly remixed.</p> <br/> Click for larger view<br/> View full resolution <p>Marcel Spears (Juicy) and Billy Eugene Jones (Pap) in <em>Fat Ham</em>. (Photo: Joan Marcus.)</p> <p></p> <p>The production history of <em>Fat Ham</em>, from debuting as a streaming production during the pandemic to winning the 2022 Pulitzer Prize for Drama, made its arrival on Broadway even more joyous. The plot of the play unfolds in real time over the course of a particularly fraught wedding celebration. The central character is Juicy, whose mother has recently married his uncle after the sudden, violent death of his father. The setting is the backyard of the family home, and the play begins as Juicy organizes decorations for the party. In Saheem Ali’s production at the American Airlines Theatre, the helium balloons that bobbed around the stage indicated the <strong>[End Page 93]</strong> haste with which the party and the wedding were planned. In a lovely touch, they were festooned, bizarrely, with messages for birthdays, holidays, and get-well-soons. The upstage center of the backyard set was dominated by a large grill that ominously leaked smoke.</p> <br/> Click for larger view<br/> View full resolution <p>The ensemble of <em>Fat Ham</em>. (Photo: Joan Marcus.)</p> <p></p> <p>The show quickly set up the analogues with <em>Hamlet</em>, largely in terms of plot, character, and motivation, which then deepened and strained as the performance went on. Take, for example, the arrival of the father’s ghost, who demanded that Juicy ex","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":"141264770","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>Macbeth in Harlem: Black Theater in America From The Beginning to Raisin in the Sun</em> by Clifford Mason <!-- /html_title --></li> <li> Cheryl Black </li> </ul> <em>MACBETH IN HARLEM: BLACK THEATER IN AMERICA FROM THE BEGINNING TO RAISIN IN THE SUN</em>. By Clifford Mason. New Brunswick, NJ: Rutgers University Press, 2020; pp. 234. <p>As indicated by its subtitle, Clifford Mason’s <em>Macbeth in Harlem</em> traces the history of Black theatre in the United States from its beginnings in the early nineteenth century to the appearance of Lorraine Hansberry’s <em>A Raisin in the Sun</em> in 1959. Mason, who once described this book on X as a “fighting history of Black Theatre,” is committed to exposing the obstacles confronting the artists he writes about. It is a story that unfolds against a context of virulent anti-Black racism, enslavement, and de jure and de facto segregation and discrimination. While it is a story that ends before the momentous political achievements of a reinvigorated civil rights movement in the 1960s, Mason’s text still resonates <strong>[End Page 116]</strong> in the twenty-first-century US, the era in which a new civil rights movement has emerged to persuade the nation and the world that Black Lives Matter and in which a coalition of theatre artists of color issued the “We See You, White American Theater” (WSYWAT) manifesto to demand an end to systemic racism within the industry.</p> <p>Mason employs two controlling ideas throughout the narrative. Although the Federal Theatre Project’s Black-cast production of <em>Macbeth</em> is discussed, “Macbeth in Harlem” also serves as a metaphor for a kind of inclusion and recognition sought by Black theatre artists within US cultural life. The second recurring theme—evoked in almost every chapter to describe the nature of Black theatre artists’ “progress”—is the myth of Sisyphus, who continually pushes a boulder up a steep hill only to have it roll back down just as he approaches the top. Taking Orson Welles’s exoticized “voodoo <em>Macbeth</em>” as a progressive benchmark may seem problematic, but as a metaphor for wide-ranging inclusivity and increased representation, it is reasonably apt. Mason’s Sisyphean metaphor seems even more apt and in keeping with recent WSYWAT activism to combat systemic racism within the theatre that persists despite increased representation by Black playwrights and performers.</p> <p>The book is organized chronologically and composed of a brief introduction and six chapters, each surveying a particular timespan. <em>Macbeth in Harlem</em> is narrower in scope than Errol Hill and James Hatch’s comprehensive history of African American theatre published in 2003, though considerably broader than much recent scholarship in the field. For a relatively slim volume, it is remarkably detailed, yet also remark
以下是内容的简要摘录，以代替摘要：评论者 哈莱姆的麦克白：美国黑人剧院从起点到阳光下的葡萄干》（Macbeth in Harlem: Black Theatre in America From The Beginning to Raisin in the Sun），作者克利福德-梅森（Clifford Mason），谢丽尔-布莱克（Cheryl Black MACBETH IN HARLEM: BLACK THEATER IN AMERICA FROM THE BEGINNING TO RAISIN IN THE SUN.作者：克利福德-梅森。新泽西州新不伦瑞克：罗格斯大学出版社，2020 年；第 234 页。正如其副标题所示，克利福德-梅森的《哈莱姆的麦克白》追溯了美国黑人戏剧的历史，从 19 世纪初的起步到 1959 年洛林-汉斯贝里的《阳光下的葡萄干》的问世。梅森曾将这本关于 X 的书描述为 "黑人戏剧的战斗史"，他致力于揭露他笔下的艺术家们所面临的障碍。这个故事是在反黑人种族主义、奴役、法律上和事实上的种族隔离和歧视等恶性事件的背景下展开的。虽然故事结束于 20 世纪 60 年代重振民权运动所取得的重大政治成就之前，但梅森的文字在 21 世纪的美国仍能产生共鸣 [第 116 页完]，在这个时代，新的民权运动已经兴起，向全国乃至全世界宣传黑人的生命至关重要，有色人种戏剧艺术家联盟也发表了《我们看见你了，美国白人剧院》（WSYWAT）宣言，要求结束戏剧界的系统性种族主义。梅森在叙事中运用了两个控制性思想。虽然讨论的是联邦剧院项目的黑人演员制作的《麦克白》，但 "哈莱姆的麦克白 "也隐喻了黑人戏剧艺术家在美国文化生活中寻求的一种包容和认可。第二个反复出现的主题是西西弗斯的神话，几乎每一章都引用这个神话来描述黑人戏剧艺术家 "进步 "的本质，西西弗斯不断将巨石推上陡峭的山坡，但当他接近山顶时，巨石又滚落下来。将奥森-威尔斯异域化的 "巫术麦克白 "作为进步的标杆似乎有问题，但作为广泛包容性和增加代表性的隐喻，却是相当贴切的。梅森的 "西西弗斯式 "隐喻似乎更加贴切，也与 WSYWAT 近期的活动相吻合，即打击戏剧界的系统性种族主义，尽管黑人剧作家和表演者的代表性有所提高，但这种种族主义依然存在。该书按时间顺序编排，由一个简短的导言和六个章节组成，每个章节考察一个特定的时间段。与埃罗尔-希尔和詹姆斯-哈奇于 2003 年出版的综合性非裔美国人戏剧史相比，《哈林区的麦克白》范围较窄，但与该领域近期的许多学术著作相比，范围则要宽广得多。作为一本相对较小的著作，它的内容非常详尽，但在表达上也非常简洁，这一特点使它特别适合一个学期的历史本科课程（希望第二学期的课程能侧重于从《太阳中的葡萄干》到现在的黑人戏剧）。梅森的黑人戏剧概念包括任何描绘黑人角色或由黑人演员扮演重要角色的戏剧表演。这一视角对白人创作的作品给予了相当大的关注，从那些因其恶劣影响而被认为值得关注的作品，到那些梅森认为对黑人生活和艺术进行了进步和真实描绘的作品。前一类作品包括黑脸吟游表演、《汤姆叔叔的小屋》（Uncle Tom's Cabin，1852 年）、《拖拉机》（The Octoroon，1859 年）和《绿色牧场》（The Green Pastures，1930 年）等，这些作品都因长期塑造虚假、非人化和有辱人格的 "现实 "而臭名昭著，如 "被贬低的奴才"、"宽容的人"、"不懂事的人"、白痴和自我贬低的黑人角色（57、59、63、66）。梅森对二十世纪中期重演的《汤姆叔叔的小屋》（Uncle Tom's Cabin）和《拖拉机》（The Octoroon）的分析尤其具有启发性（让人很想知道梅森对布兰登-雅各布斯-詹金斯（Branden Jacobs-Jenkins）最近对后者的反思）。进步的范例包括：联邦剧院项目的《麦克白》（1936 年）和水星剧院的《浮士德》（1937 年），这两部剧揭示了黑人演员对 "经典 "作品的驾驭能力；剧院联盟的《装卸工》（1934 年），该剧展现了黑人劳工对剥削的激进反抗；以及剧院公会的《他们不会死》（1934 年），该剧将对被诬告犯有强奸罪的斯科茨伯勒男孩的审判戏剧化。梅森对爱德华-谢尔顿（Edward Sheldon）的《黑鬼》（1909...
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This article examines how performance represents, reflects on, and reimagines the function of technology in drone culture. From a pharmaco-phenomenological angle, I analyze drone art practices, focusing on how drone performances invite audiences to feel/make their way through a networked reality. I highlight human tension, vulnerability, and precarity in their digital thrownness in conditions perceived as alien or alienating, yet not completely foreign or nonhuman. Featuring Ars Electronica Futurelab’s 100 Drones, Julian Hetzel’s The Automated Sniper, Laura Poitras’s Bed Down Location, and Random International’s Zoological, I investigate drones as pharmaka in practices where these technologies potentially antagonize, elevate, or even outperform their human counterparts. It is through this pharmacological functionality of drones that this article seeks to understand how to be human in drone culture.
{"title":"How to Be Human in Drone Culture: In Search of a Pharmacological Recompense through Performance","authors":"Eirini Nedelkopoulou","doi":"10.1353/tj.2024.a929512","DOIUrl":"https://doi.org/10.1353/tj.2024.a929512","url":null,"abstract":"<p><p>Abstract:</p><p>This article examines how performance represents, reflects on, and reimagines the function of technology in drone culture. From a pharmaco-phenomenological angle, I analyze drone art practices, focusing on how drone performances invite audiences to feel/make their way through a networked reality. I highlight human tension, vulnerability, and precarity in their digital thrownness in conditions perceived as alien or alienating, yet not completely foreign or nonhuman. Featuring Ars Electronica Futurelab’s <i>100 Drones</i>, Julian Hetzel’s <i>The Automated Sniper</i>, Laura Poitras’s <i>Bed Down Location</i>, and Random International’s <i>Zoological</i>, I investigate drones as pharmaka in practices where these technologies potentially antagonize, elevate, or even outperform their human counterparts. It is through this pharmacological functionality of drones that this article seeks to understand how to be human in drone culture.</p></p>","PeriodicalId":46247,"journal":{"name":"THEATRE JOURNAL","volume":"40 1","pages":""},"PeriodicalIF":0.5,"publicationDate":"2024-06-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141264793","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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