Pub Date : 2022-12-01DOI: 10.1017/S1054204322000594
Kara Reilly
William Hunter, a male midwife, was author of an anatomy atlas that featured pregnant cadavers as specimens. He lived in the building that later became the Lyric Theatre. Through an examination of the Lyric Theatre as a hauntological site, and the experience of psychosis, a proposed paradigm shift for theatre and performance historiography emerges: the phenomenology of dyschronia.
{"title":"A Medium to History","authors":"Kara Reilly","doi":"10.1017/S1054204322000594","DOIUrl":"https://doi.org/10.1017/S1054204322000594","url":null,"abstract":"William Hunter, a male midwife, was author of an anatomy atlas that featured pregnant cadavers as specimens. He lived in the building that later became the Lyric Theatre. Through an examination of the Lyric Theatre as a hauntological site, and the experience of psychosis, a proposed paradigm shift for theatre and performance historiography emerges: the phenomenology of dyschronia.","PeriodicalId":46402,"journal":{"name":"TDR-The Drama Review-The Journal of Performance Studies","volume":"66 1","pages":"109 - 126"},"PeriodicalIF":0.3,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42928437","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 : 2022-12-01DOI: 10.1017/S1054204322000600
A. Kimmel, D. Martin, Asher Warren
Moving beyond speculation on immediate and mediated interpretations of presence that saturate our field, we drift toward new orientations regarding presence that capture a metered togetherness: a disjuncted assembly emerging from both localized and networked logistics. Presence is not always signaled by the coterminous junction of shared time and space, but as the multiple trajectories that emerge in its wake.
{"title":"Metered Togetherness","authors":"A. Kimmel, D. Martin, Asher Warren","doi":"10.1017/S1054204322000600","DOIUrl":"https://doi.org/10.1017/S1054204322000600","url":null,"abstract":"Moving beyond speculation on immediate and mediated interpretations of presence that saturate our field, we drift toward new orientations regarding presence that capture a metered togetherness: a disjuncted assembly emerging from both localized and networked logistics. Presence is not always signaled by the coterminous junction of shared time and space, but as the multiple trajectories that emerge in its wake.","PeriodicalId":46402,"journal":{"name":"TDR-The Drama Review-The Journal of Performance Studies","volume":"66 1","pages":"127 - 142"},"PeriodicalIF":0.3,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46925836","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 : 2022-12-01DOI: 10.1017/s105420432200051x
R. Schechner
The Great Game of the 19th century was the struggle between Russia and the British in Afghanistan to control India. The Ukraine war is a new version of the Great Game. In the 1930s to defeat the Japanese, an existential threat to China, Mao Zedong and Chiang Kai-shek postponed their civil war. Climate change is the world’s existential threat. Let’s postpone all wars to deal with climate change.
{"title":"Postpone the Great Game","authors":"R. Schechner","doi":"10.1017/s105420432200051x","DOIUrl":"https://doi.org/10.1017/s105420432200051x","url":null,"abstract":"The Great Game of the 19th century was the struggle between Russia and the British in Afghanistan to control India. The Ukraine war is a new version of the Great Game. In the 1930s to defeat the Japanese, an existential threat to China, Mao Zedong and Chiang Kai-shek postponed their civil war. Climate change is the world’s existential threat. Let’s postpone all wars to deal with climate change.","PeriodicalId":46402,"journal":{"name":"TDR-The Drama Review-The Journal of Performance Studies","volume":"66 1","pages":"7 - 16"},"PeriodicalIF":0.3,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46434263","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 : 2022-12-01DOI: 10.1017/S1054204322000624
Nahuel Telleria
How can we be present yet not physically in person? Three bed performances in Argentina suggest such a possibility. In a country marked by the disappearance of 30,000 citizens, artists and activists have sought to make the absent present. These bed performances reveal that by mediating presence and expanding it beyond the here and now, what was thought to have disappeared, remains. Pastoral associates stand in front of huge screens to pray for hundreds of people at the same time. Emmanuel TV Studios, Lagos, Nigeria, 1 June 2021. See “The Healing of Maseko: Live and A-live Presences in the Theatre of the Spiritual” by Abimbola A. Adelakun. (www.youtube.com/watch?v=P1vRT6imV4o; screenshot by TDR)
{"title":"Presently in Beds","authors":"Nahuel Telleria","doi":"10.1017/S1054204322000624","DOIUrl":"https://doi.org/10.1017/S1054204322000624","url":null,"abstract":"How can we be present yet not physically in person? Three bed performances in Argentina suggest such a possibility. In a country marked by the disappearance of 30,000 citizens, artists and activists have sought to make the absent present. These bed performances reveal that by mediating presence and expanding it beyond the here and now, what was thought to have disappeared, remains. Pastoral associates stand in front of huge screens to pray for hundreds of people at the same time. Emmanuel TV Studios, Lagos, Nigeria, 1 June 2021. See “The Healing of Maseko: Live and A-live Presences in the Theatre of the Spiritual” by Abimbola A. Adelakun. (www.youtube.com/watch?v=P1vRT6imV4o; screenshot by TDR)","PeriodicalId":46402,"journal":{"name":"TDR-The Drama Review-The Journal of Performance Studies","volume":"66 1","pages":"161 - 178"},"PeriodicalIF":0.3,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45386156","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 : 2022-12-01DOI: 10.1017/s1054204322000508
Hope Mohr
Performance offers the chance to break through dead ways of being. Only by harnessing our longing can we unshackle from forms that no longer nourish us. Making performance means creating conditions where we can sense new possibilities for how we show up for our lives. Let the old structures shatter. Hope Mohr is a choreographer, writer, and advocate. She performed with Lucinda Childs and Trisha Brown. In 2007, she founded Hope Mohr Dance. In 2010, she founded The Bridge Project, now Bridge Live Arts, which creates and supports equity-driven live art that centers artists as agents of change. www.hopemohr.org
表演提供了突破死气沉沉的存在方式的机会。只有驾驭我们的渴望，我们才能从不再滋养我们的形式中解脱出来。表演意味着创造条件，让我们感受到生活中出现的新可能性。让旧的结构破碎。霍普·莫尔是一位编舞家、作家和倡导者。她与Lucinda Childs和Trisha Brown一起演出。2007年，她创立了Hope Mohr Dance。2010年，她创立了The Bridge Project，即现在的Bridge Live Arts，创建并支持以艺术家为变革推动者的公平驱动的现场艺术。www.hopemohr.org
{"title":"liberation study","authors":"Hope Mohr","doi":"10.1017/s1054204322000508","DOIUrl":"https://doi.org/10.1017/s1054204322000508","url":null,"abstract":"Performance offers the chance to break through dead ways of being. Only by harnessing our longing can we unshackle from forms that no longer nourish us. Making performance means creating conditions where we can sense new possibilities for how we show up for our lives. Let the old structures shatter. Hope Mohr is a choreographer, writer, and advocate. She performed with Lucinda Childs and Trisha Brown. In 2007, she founded Hope Mohr Dance. In 2010, she founded The Bridge Project, now Bridge Live Arts, which creates and supports equity-driven live art that centers artists as agents of change. www.hopemohr.org","PeriodicalId":46402,"journal":{"name":"TDR-The Drama Review-The Journal of Performance Studies","volume":"66 1","pages":"2 - 3"},"PeriodicalIF":0.3,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42181264","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 : 2022-12-01DOI: 10.1017/S1054204322000582
Daniel J. Ruppel
Labyrinthe Royal de l’Hercule Gaulois triomphant (Avignon, 1601) documents a ceremonial performance that happens more in the time of reading than a historical moment. Focusing on discrepancies between a vivid image of elephants and a description attesting that there were none reveals how this document makes the festival “present” by suspending the reader between allegory and history, representation and performance, and most importantly, the presence and(/as) absence of racialized “Mores” driving the fictitious pachyderms.
{"title":"Global Imaginaries and Elephantine Artifice","authors":"Daniel J. Ruppel","doi":"10.1017/S1054204322000582","DOIUrl":"https://doi.org/10.1017/S1054204322000582","url":null,"abstract":"Labyrinthe Royal de l’Hercule Gaulois triomphant (Avignon, 1601) documents a ceremonial performance that happens more in the time of reading than a historical moment. Focusing on discrepancies between a vivid image of elephants and a description attesting that there were none reveals how this document makes the festival “present” by suspending the reader between allegory and history, representation and performance, and most importantly, the presence and(/as) absence of racialized “Mores” driving the fictitious pachyderms.","PeriodicalId":46402,"journal":{"name":"TDR-The Drama Review-The Journal of Performance Studies","volume":"66 1","pages":"83 - 108"},"PeriodicalIF":0.3,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44193617","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 : 2022-12-01DOI: 10.1017/s1054204322000491
{"title":"TDR volume 66 issue 4 Cover and Back matter","authors":"","doi":"10.1017/s1054204322000491","DOIUrl":"https://doi.org/10.1017/s1054204322000491","url":null,"abstract":"","PeriodicalId":46402,"journal":{"name":"TDR-The Drama Review-The Journal of Performance Studies","volume":"66 1","pages":"b1 - b7"},"PeriodicalIF":0.3,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48355076","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 : 2022-12-01DOI: 10.1017/S1054204322000557
Abimbola Adelakun
Enforced restriction of movement and social distancing regulations during the pandemic pushed a Nigerian-based church with global membership to innovate liveness without co-presence. The church purportedly transcended time-space limits in miracle performances during their Distance Is Not a Barrier digital sessions.
{"title":"The Healing of Maseko","authors":"Abimbola Adelakun","doi":"10.1017/S1054204322000557","DOIUrl":"https://doi.org/10.1017/S1054204322000557","url":null,"abstract":"Enforced restriction of movement and social distancing regulations during the pandemic pushed a Nigerian-based church with global membership to innovate liveness without co-presence. The church purportedly transcended time-space limits in miracle performances during their Distance Is Not a Barrier digital sessions.","PeriodicalId":46402,"journal":{"name":"TDR-The Drama Review-The Journal of Performance Studies","volume":"66 1","pages":"37 - 55"},"PeriodicalIF":0.3,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43985517","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 : 2022-12-01DOI: 10.1017/S1054204322000545
Tavia Nyong’o
How has presence transformed under recent pandemic conditions and ongoing digital saturation? José Esteban Muñoz’s now classic critique of liveness illuminates the works of several contemporary Black performance artists whose work intervenes against the corporeal burdens of our moment.
{"title":"Unburdening Liveness","authors":"Tavia Nyong’o","doi":"10.1017/S1054204322000545","DOIUrl":"https://doi.org/10.1017/S1054204322000545","url":null,"abstract":"How has presence transformed under recent pandemic conditions and ongoing digital saturation? José Esteban Muñoz’s now classic critique of liveness illuminates the works of several contemporary Black performance artists whose work intervenes against the corporeal burdens of our moment.","PeriodicalId":46402,"journal":{"name":"TDR-The Drama Review-The Journal of Performance Studies","volume":"66 1","pages":"28 - 36"},"PeriodicalIF":0.3,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48554797","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}
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