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TDR-The Drama Review-The Journal of Performance Studies最新文献

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being-in-blackfeminineflesh 黑人女性主义
IF 0.3 2区 艺术学 0 THEATER Pub Date : 2023-09-01 DOI: 10.1017/S1054204323000230
Ra Malika Imhotep
In the Dirty Southern vernacular medium of the twerk video, performances of eroticized Black femininity by digital performance artist BeTTy BuTT and others knead into traumas of ecological dispossession, sexual vulnerability, and patriarchal violence. As an aesthetic survival strategy forged in the Black sexual economies of the contemporary Dirty South, being-in-blackfeminineflesh occasions a critical reappraisal of the performative labors of contemporary Black feminine figures, how our bodyminds witness them, and how we write about them.
在肮脏的南方方言媒体twerk视频中,数字行为艺术家BeTTy BuTT和其他人对色情黑人女性气质的表演融入了生态剥夺、性脆弱和父权暴力的创伤。作为在当代肮脏南方的黑人性经济中形成的一种美学生存策略,身处黑人女性主义中,有时会对当代黑人女性形象的表演劳动、我们的身心如何见证它们以及我们如何书写它们进行批判性的重新评估。
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引用次数: 0
Performing Asian/American Women 表演亚裔/美国女性
IF 0.3 2区 艺术学 0 THEATER Pub Date : 2023-09-01 DOI: 10.1017/S1054204323000308
H. Kim
The transnational circulation of persistent racial types that are attached to Asian/American women have shaped Asian-focused narratives and roles on Broadway. The King and I (2015) and KPOP (2022) exemplify Asian/American women’s performative labor and the tensions embedded in and disruptive of the contested political arena of Broadway musical theatre.
亚裔/美国女性身上持续存在的种族类型在跨国传播,塑造了百老汇以亚裔为中心的叙事和角色。《国王与我》(2015)和《KPOP》(2022)体现了亚裔/美国女性的表演劳动,以及百老汇音乐剧这一有争议的政治舞台所嵌入和破坏的紧张局势。
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引用次数: 0
TDR volume 67 issue 3 Cover and Front matter TDR第67卷第3期封面和封面
IF 0.3 2区 艺术学 0 THEATER Pub Date : 2023-09-01 DOI: 10.1017/s1054204323000175
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引用次数: 0
Theatre and Dance in Greece Is in Danger 希腊的戏剧和舞蹈岌岌可危
IF 0.3 2区 艺术学 0 THEATER Pub Date : 2023-09-01 DOI: 10.1017/s1054204323000217
Leda Koutsodaskalou
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引用次数: 0
Spectacles of Stigma in a World Beyond Shame 在一个超越耻辱的世界里,耻辱的景象
IF 0.3 2区 艺术学 0 THEATER Pub Date : 2023-09-01 DOI: 10.1017/s1054204323000266
Keren Zaiontz
The full-scale invasion of Ukraine brought with it the criminalization of the free press in Russia and the bullying of independent reporters, exemplified by a red paint attack against Dmitry Muratov, one of the country’s foremost newspaper editors. The paint attack belongs to a cluster of wartime scenarios that make fluid use of “fake” blood and whose primary actors are not Kremlin cronies but antiwar protestors.
对乌克兰的全面入侵导致了俄罗斯新闻自由的刑事定罪和对独立记者的欺凌,例如对该国最重要的报纸编辑之一德米特里·穆拉托夫的红漆袭击。油漆袭击属于一系列战时场景,这些场景流畅地使用了“假”血液,其主要参与者不是克里姆林宫的亲信,而是反战抗议者。
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引用次数: 0
emo riot: to retreat from reason 情绪暴乱:从理性中撤退
IF 0.3 2区 艺术学 0 THEATER Pub Date : 2023-09-01 DOI: 10.1017/s1054204323000205
Lauren Bakst
Abstract:Lauren Bakst is an artist, writer, and scholar working through experimental performance. She is a PhD candidate in English at the University of Pennsylvania, and organizes and curates the School for Temporary Liveness.emo riot vibrates with neediness as a problem for thought.
摘要:Lauren Bakst是一位艺术家、作家和学者,致力于实验表演。她是宾夕法尼亚大学英语专业的博士候选人,并组织和策划了临时居住学校。作为一个思考问题,情绪暴乱伴随着需求而振动。
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引用次数: 0
The Artist as Burning Building 作为燃烧的建筑的艺术家
IF 0.3 2区 艺术学 0 THEATER Pub Date : 2023-09-01 DOI: 10.1017/s105420432300028x
Sarah Richter
Dozens of theatres emerge in Yve Laris Cohen’s two performances, Conservation and Preservation, including: the theatre of cruelty, theatrical minimalist sculpture, legal theatres, operating theatres, and spectacular disasters. They provide the groundwork for exploring theatrical redundancy, refuse, excess, violence, speech, and the (im)possibility of repair.
在伊夫·拉里斯·科恩的两场表演《保护》和《保存》中,出现了几十个剧院,包括:残酷剧院、戏剧极简主义雕塑、法律剧院、手术室和壮观的灾难。它们为探索戏剧的冗余、拒绝、过度、暴力、言语和(不)修复的可能性提供了基础。
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引用次数: 0
Expressions of Surface 曲面表达式
IF 0.3 2区 艺术学 0 THEATER Pub Date : 2023-09-01 DOI: 10.1017/S105420432300031X
Crystal Song
How do we make sense of Asian American racial form as it telescopes across political invisibility and spectacular, hypervisible violence? Three recent works in Asian American performance studies help explore this question through the prism of the Covid-19 pandemic.
我们如何理解亚裔美国人的种族形式,因为它跨越了政治的隐蔽性和壮观的、高度可见的暴力?亚裔美国人最近的三项表现研究有助于通过新冠肺炎大流行的棱镜来探索这个问题。
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引用次数: 0
Claudia Bucher in Five Movements 克劳迪娅·布彻的五个动作
IF 0.3 2区 艺术学 0 THEATER Pub Date : 2023-09-01 DOI: 10.1017/S1054204323000278
Meiling Cheng
For close to four decades, Claudia Bucher’s “scientart” has created myriad experiential habitats for her performing body, while inviting others to join her imaginary leaps. From personifying an outer-space lichen colony to meditating midair as an “anemochore kite,” Bucher demonstrates empathic kinships with other beings and nonbeings, calling forth alternative eco-systems in which sentience thrives as the common denominator for all inhabitants.
近四十年来,克劳迪娅·布彻的“科学之旅”为她的表演身体创造了无数的体验栖息地,同时邀请其他人加入她的想象跳跃。从将外太空地衣群落拟人化,到将半空中冥想为“海葵风筝”,布彻展示了与其他生物和非生物的移情亲属关系,提出了替代生态系统,在这种系统中,感知作为所有居民的共同点而蓬勃发展。
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引用次数: 0
Permanent Gestures 永久手势
IF 0.3 2区 艺术学 0 THEATER Pub Date : 2023-09-01 DOI: 10.1017/S1054204323000242
Meredith Lee
Primitive whiteness refers to the atavistic and colonial violence of the appropriation of tattooing in the United States. The radical deviance of the tattooist and their canvas, read through queer forms of pathologized identities, illuminates what happens when this primitive whiteness is indeed queer.
原始白指的是返祖和殖民暴力的挪用纹身在美国。纹身师和他们的画布的极端偏差,通过病态身份的酷儿形式来解读,说明了当这种原始的白色确实是酷儿时会发生什么。
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引用次数: 0
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TDR-The Drama Review-The Journal of Performance Studies
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