Pub Date : 2022-09-01DOI: 10.1017/S1054204322000296
M. Tan
Theatricality in music performances is often regarded as extraneous, but avantgarde toy pianist Margaret Leng Tan exploits the intermediality between theatricality and musicality to demonstrate how theatrimusicality is imperative to the creation and reception of her music. Curios (2015) is one example in which the work’s structure of meaning and the experience of the carnivalesque are evoked through such a theatrimusical dramaturgy.
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Pub Date : 2022-09-01DOI: 10.1017/S105420432200034X
Julie Vatain-Corfdir
In 1927, Orson Welles directed Marlowe’s Doctor Faustus for the Federal Theatre Project, in an original interpretation of Hallie Flanagan’s dream of a “people’s theatre.” While the available archives allow for an examination of Welles’s experiment in popular classicism and invite comparisons with the work of French theatre-makers, they also call for an awareness of the part played by our imagination in such retrospective research.
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Pub Date : 2022-09-01DOI: 10.1017/S1054204322000351
Max Jack
For a group of antifascist fans who support Eis Hockey Club Dynamo Berlin, street protest and ice hockey games are both sites of left-wing political intervention. Despite the team’s reputation in Germany as “The Nazi Club,” the group aims to cultivate politically minded crowd action and uplift the atmosphere in the arena in hopes of ridding Germany of representations of its authoritarian past.
{"title":"What’s the Crowd Got to Do with It?","authors":"Max Jack","doi":"10.1017/S1054204322000351","DOIUrl":"https://doi.org/10.1017/S1054204322000351","url":null,"abstract":"For a group of antifascist fans who support Eis Hockey Club Dynamo Berlin, street protest and ice hockey games are both sites of left-wing political intervention. Despite the team’s reputation in Germany as “The Nazi Club,” the group aims to cultivate politically minded crowd action and uplift the atmosphere in the arena in hopes of ridding Germany of representations of its authoritarian past.","PeriodicalId":46402,"journal":{"name":"TDR-The Drama Review-The Journal of Performance Studies","volume":"66 1","pages":"133 - 148"},"PeriodicalIF":0.3,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49127071","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-01DOI: 10.1017/s1054204322000478
T. Richards
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Pub Date : 2022-09-01DOI: 10.1017/S1054204322000314
Sophie Seita
Seated between art and academia, the lecture performance is a hybrid and playful genre that questions the norms and forms of lectures. Often highly reflexive, discursive, and pedagogical, it draws attention to the structures of how knowledge is produced, distributed, and received. It stages and costumes knowledge; makes it wearable or movable.
{"title":"Playing with Knowledge","authors":"Sophie Seita","doi":"10.1017/S1054204322000314","DOIUrl":"https://doi.org/10.1017/S1054204322000314","url":null,"abstract":"Seated between art and academia, the lecture performance is a hybrid and playful genre that questions the norms and forms of lectures. Often highly reflexive, discursive, and pedagogical, it draws attention to the structures of how knowledge is produced, distributed, and received. It stages and costumes knowledge; makes it wearable or movable.","PeriodicalId":46402,"journal":{"name":"TDR-The Drama Review-The Journal of Performance Studies","volume":"66 1","pages":"78 - 95"},"PeriodicalIF":0.3,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46808827","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-01DOI: 10.1017/s1054204322000053
Asher Hartman
This autobiographical-fantastical work-in-progress animation is about a girl who eats people. Kay Whale, a lovable force composed of many beings, is growing malevolent. Absurdist and depraved, Female Hallucinations is as much about possession as it is about the ways our unexamined traumas can turn into weapons against the world. It is a personal examination of the effects of misogyny, racist privilege, multiplicity, violence, and loss.
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Pub Date : 2022-06-01DOI: 10.1017/s1054204322000089
C. Amich
Through bold political performance acts, Cuban artist Tania Bruguera accesses an untimely variant of utopia whose surplus exceeds Cold War binaries of revolution and exile. Bruguera’s democratic action works build collective self-esteem and challenge the official utopianism of the communist state. In free-speech performances that confront the Cuban state’s censorship apparatus, Bruguera models for her fellow Cuban citizens an inimitable practice of democratic dissensus.
{"title":"When Doves Cry","authors":"C. Amich","doi":"10.1017/s1054204322000089","DOIUrl":"https://doi.org/10.1017/s1054204322000089","url":null,"abstract":"Through bold political performance acts, Cuban artist Tania Bruguera accesses an untimely variant of utopia whose surplus exceeds Cold War binaries of revolution and exile. Bruguera’s democratic action works build collective self-esteem and challenge the official utopianism of the communist state. In free-speech performances that confront the Cuban state’s censorship apparatus, Bruguera models for her fellow Cuban citizens an inimitable practice of democratic dissensus.","PeriodicalId":46402,"journal":{"name":"TDR-The Drama Review-The Journal of Performance Studies","volume":"66 1","pages":"27 - 44"},"PeriodicalIF":0.3,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44794944","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-01DOI: 10.1017/s1054204322000132
Ashley Ferro-Murray
Jaamil Olawale Kosoko’s work focuses on adaptability and survival. Kosoko’s April 2020 Chameleon (The Living Installments) exemplifies the importance of an individual artist’s responses to the Covid-19 moment, the historical imperative for hybrid in-person/online performance, how 21st-century liveness functions in performance, as well as political awareness of artist-centered approaches to curatorial practice.
Jaamil Olawale Kosoko的工作重点是适应能力和生存能力。科索沃2020年4月的《变色龙》(The Living Installments)展示了艺术家个人对Covid-19时刻的回应的重要性，现场/在线混合表演的历史必要性，21世纪的生活如何在表演中发挥作用，以及以艺术家为中心的策展实践方法的政治意识。
{"title":"Chameleonic Survivalism","authors":"Ashley Ferro-Murray","doi":"10.1017/s1054204322000132","DOIUrl":"https://doi.org/10.1017/s1054204322000132","url":null,"abstract":"Jaamil Olawale Kosoko’s work focuses on adaptability and survival. Kosoko’s April 2020 Chameleon (The Living Installments) exemplifies the importance of an individual artist’s responses to the Covid-19 moment, the historical imperative for hybrid in-person/online performance, how 21st-century liveness functions in performance, as well as political awareness of artist-centered approaches to curatorial practice.","PeriodicalId":46402,"journal":{"name":"TDR-The Drama Review-The Journal of Performance Studies","volume":"66 1","pages":"115 - 130"},"PeriodicalIF":0.3,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48408772","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-01DOI: 10.1017/S1054204322000107
Carla Taban
The Centre for the Less Good Idea, founded by William Kentridge in Johannesburg, inaugurated its first season with four short plays by Samuel Beckett. Beckett is a productive point of reference for Kentridge, especially in his lecture-performances that reflect on the activity of making art in the studio.
{"title":"Kentridge’s Beckett","authors":"Carla Taban","doi":"10.1017/S1054204322000107","DOIUrl":"https://doi.org/10.1017/S1054204322000107","url":null,"abstract":"The Centre for the Less Good Idea, founded by William Kentridge in Johannesburg, inaugurated its first season with four short plays by Samuel Beckett. Beckett is a productive point of reference for Kentridge, especially in his lecture-performances that reflect on the activity of making art in the studio.","PeriodicalId":46402,"journal":{"name":"TDR-The Drama Review-The Journal of Performance Studies","volume":"66 1","pages":"60 - 80"},"PeriodicalIF":0.3,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42610058","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-01DOI: 10.1017/S1054204322000090
Peggy Kyoungwon Lee
The alpha brain wave sonification inaugurated by Alvin Lucier in Music for Solo Performer (1965) ushered in biofeedback as a new possibility for art and a racialized fantasy of the “Orient.” The “Alpha Orient” encompasses sonic methods equating alpha brain waves with the supposed exceptional “composure” and “silence” of the East. Eunoia (2013-2014) by Lisa Park and Yoko Ono’s 1964 Cut Piece and 1965 Sky Piece for Jesus Christ expose the Alpha Orient as an ableist fantasy of the Asian woman in the remarkable soundness of her self-control.
阿尔文·卢西尔在1965年的《独奏音乐》中开创的阿尔法脑波超声技术将生物反馈作为一种新的艺术可能性和对“东方”的种族化幻想引入了我们的视野。“阿尔法东方”包括将阿尔法脑电波与东方所谓的特殊“镇静”和“沉默”等同起来的声学方法。Lisa Park的《Eunoia》(2013-2014)和小野洋子1964年的《Cut Piece》和1965年的《Sky Piece for Jesus Christ》揭示了阿尔法东方是一种对亚洲女性自我控制能力的健全的健康主义幻想。
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