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A Medium to History 历史的媒介
IF 0.3 2区 艺术学 Q1 Arts and Humanities Pub Date : 2022-12-01 DOI: 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.
威廉·亨特(William Hunter)是一名男性助产士,他写了一本以怀孕尸体为标本的解剖学图集。他住在后来成为抒情剧院的大楼里。通过对抒情剧院作为一个幽灵学场所的考察,以及对精神病的体验,提出了戏剧和表演史学的范式转变:时间障碍现象学。
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引用次数: 0
Metered Togetherness Metered Togetherness
IF 0.3 2区 艺术学 Q1 Arts and Humanities Pub Date : 2022-12-01 DOI: 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.
超越了对充斥着我们的领域的存在的直接和中介解释的猜测,我们漂移到关于存在的新方向,捕捉到一种计量的团结:一种从本地化和网络化物流中出现的分离的集合。存在并不总是由共享的时间和空间的共同连接点发出信号,而是随着它的出现而出现的多重轨迹。
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引用次数: 0
Presently in Beds 目前在床上
IF 0.3 2区 艺术学 Q1 Arts and Humanities Pub Date : 2022-12-01 DOI: 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)
我们怎么能不亲自到场?在阿根廷的三床表演表明了这种可能性。在一个有3万公民失踪的国家,艺术家和活动人士试图让缺席的人出席。这些床上的表演表明,通过调解存在并将其扩展到此时此地之外,被认为已经消失的东西仍然存在。牧师同事站在巨大的屏幕前,同时为数百人祈祷。Emmanuel电视工作室,尼日利亚拉各斯,2021年6月1日。参见Abimbola A.Adelakun的《Maseko的治愈:精神剧院的现场和现场表演》。(www.youtube.com/watch?v=P1vRT6imV4o;TDR截图)
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引用次数: 0
Postpone the Great Game 推迟伟大的比赛
IF 0.3 2区 艺术学 Q1 Arts and Humanities Pub Date : 2022-12-01 DOI: 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.
19世纪的大博弈是俄罗斯和英国在阿富汗为控制印度而进行的斗争。乌克兰战争是伟大游戏的新版本。20世纪30年代,为了击败对中国生存构成威胁的日本人,毛泽东和蒋介石推迟了内战。气候变化是世界生存的威胁。让我们推迟所有应对气候变化的战争。
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引用次数: 0
TDR volume 66 issue 4 Cover and Front matter TDR第66卷第4期封面和封面问题
IF 0.3 2区 艺术学 Q1 Arts and Humanities Pub Date : 2022-12-01 DOI: 10.1017/s105420432200048x
Kimberly Jannarone, E. Morrison
ing and Indexing Information: Please visit https://www.cambridge.org/core/journals/the-drama-review. Subscription Information: TDR (ISSN 1054-2043 E-ISSN 1531-4715) is published quarterly (Spring, Summer, Fall, Winter) by Cambridge University Press, 1 Liberty Plaza, New York, NY 10006, USA on behalf of the Tisch School of the Arts, New York University. Periodicals postage paid at New York, NY, and at additional mailing offices. POSTMASTER: Please send address changes to TDR, Cambridge University Press, 1 Liberty Plaza, New York, NY 10006, USA. The institutional subscription price for Volume 66 (2022), including delivery by air where appropriate (but excluding VAT), is $270.00 (£223.00) for print and electronic or $230.00 (£189.00) for electronic only. Orders, which must be accompanied by payment, may be sent to a bookseller, subscription agent or direct to the publisher: Cambridge University Press, Journals Fulfillment Department, 1 Liberty Plaza, New York, NY, 10006, USA; or Cambridge University Press, UPH, Shaftesbury Road, Cambridge CB2 8RU, England. For single back issues, please contact subscriptions_newyork@cambridge.org. More information about subscription rates, including individual and student subscription prices, can be found at: https://www.cambridge.org/core/journals/the-drama-review/subscribe. Advertising: For information on display ad sizes, rates, and deadlines for copy, please contact USAdSales@cambridge.org. © New York University/Tisch School of the Arts 2022. All rights reserved. No part of this publication may be reproduced, in any form or by any means, electronic, photocopying, or otherwise, without permission in writing from Cambridge University Press. Policies, request forms, and contacts are available at https://www.cambridge.org/core/journals/the-drama-review/information/request-permissions. Permission to copy (for users in the USA) is available from Copyright Clearance Center: www.copyright.com; email: info@copyright.com. This publication is made possible, in part, with public funds from the New York State Council on the Arts and the National Endowment for the Arts. TDR
检索和索引信息:请访问https://www.cambridge.org/core/journals/the-drama-review。订阅信息:《TDR》(ISSN 1054-2043 E-ISSN 1531-4715)是由剑桥大学出版社(1 Liberty Plaza, New York, NY 10006, USA)代表纽约大学Tisch艺术学院每季度出版一次(春、夏、秋、冬)。在纽约和其他邮局支付的期刊邮资。邮政局长:请将地址更改寄到TDR,剑桥大学出版社,1自由广场,纽约,NY 10006,美国。第66卷(2022)的机构订阅价格,包括适当的空运(但不包括增值税),印刷和电子的价格为270.00美元(223.00英镑),电子的价格为230.00美元(189.00英镑)。订单必须付款,可以寄给书商、订阅代理或直接寄给出版商:剑桥大学出版社,期刊履行部,1自由广场,纽约,NY, 10006, USA;或剑桥大学出版社,UPH,沙夫茨伯里路,剑桥cb28ru,英国。单期封底,请联系subscriptions_newyork@cambridge.org。更多关于订阅率的信息,包括个人和学生订阅价格,可以在https://www.cambridge.org/core/journals/the-drama-review/subscribe上找到。广告:为显示广告大小,费率,并为副本的最后期限的信息,请联系USAdSales@cambridge.org。©纽约大学/蒂施艺术学院2022。版权所有。未经剑桥大学出版社的书面许可,不得以任何形式或方式复制本出版物的任何部分,包括电子、复印或其他方式。政策、请求表格和联系方式可在https://www.cambridge.org/core/journals/the-drama-review/information/request-permissions上获得。复制许可(适用于美国用户)可从版权清理中心获得:www.copyright.com;电子邮件:info@copyright.com。这本书的出版部分得益于纽约州艺术委员会和美国国家艺术基金会的公共资金。热带病研究和培训特别规划
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引用次数: 0
liberation study 解放的研究
IF 0.3 2区 艺术学 Q1 Arts and Humanities Pub Date : 2022-12-01 DOI: 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
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引用次数: 0
TDR volume 66 issue 4 Cover and Back matter TDR第66卷第4期封面和封底
IF 0.3 2区 艺术学 Q1 Arts and Humanities Pub Date : 2022-12-01 DOI: 10.1017/s1054204322000491
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引用次数: 0
Global Imaginaries and Elephantine Artifice 全球想象和大象般的技巧
IF 0.3 2区 艺术学 Q1 Arts and Humanities Pub Date : 2022-12-01 DOI: 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.
迷宫般的皇家大力神高卢瓦三重奏(阿维尼翁,1601年)记录了一场仪式表演,这种表演更多地发生在阅读时间,而不是历史时刻。关注生动的大象形象和证明没有大象形象的描述之间的差异,揭示了这份文件是如何通过将读者置于寓言与历史、表现与表演之间,以及最重要的是,种族化的“Mores”驱动着虚构的厚皮动物的存在与否,来使节日“呈现”的。
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引用次数: 0
Unburdening Liveness 无负担的生活
IF 0.3 2区 艺术学 Q1 Arts and Humanities Pub Date : 2022-12-01 DOI: 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.
在最近的疫情和持续的数字饱和下,存在是如何转变的?何塞·埃斯特班·穆尼奥斯(JoséEsteban Muñoz)现在对生活的经典批判照亮了几位当代黑人行为艺术家的作品,他们的作品对抗了我们当下的物质负担。
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引用次数: 0
The Healing of Maseko 马塞科的治愈
IF 0.3 2区 艺术学 Q1 Arts and Humanities Pub Date : 2022-12-01 DOI: 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.
疫情期间,对行动的强制限制和社交距离规定促使一家拥有全球会员资格的尼日利亚教会在没有共同存在的情况下创新生活方式。据称,教堂在“距离不是障碍”数字会议上的奇迹表演超越了时空限制。
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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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