Pub Date : 2022-12-01DOI: 10.1017/s1054204322000533
Kimberly Jannarone, E. Morrison, Tavia Nyong’o
Our understanding of “presence” has made an epochal shift in the past three years. The field of performance studies—never settled, always in flux—is shifting as well on this topic, as what we study expands digitally, contracts physically, embraces new paradigms, and unlooses others. While it is impossible to fix an exact time when attitudes about something as ineffable yet entirely real as presence changed permanently, this issue touches down on several key moments.
{"title":"Presence, 2019–2022: Introduction","authors":"Kimberly Jannarone, E. Morrison, Tavia Nyong’o","doi":"10.1017/s1054204322000533","DOIUrl":"https://doi.org/10.1017/s1054204322000533","url":null,"abstract":"Our understanding of “presence” has made an epochal shift in the past three years. The field of performance studies—never settled, always in flux—is shifting as well on this topic, as what we study expands digitally, contracts physically, embraces new paradigms, and unlooses others. While it is impossible to fix an exact time when attitudes about something as ineffable yet entirely real as presence changed permanently, this issue touches down on several key moments.","PeriodicalId":46402,"journal":{"name":"TDR-The Drama Review-The Journal of Performance Studies","volume":"66 1","pages":"22 - 27"},"PeriodicalIF":0.3,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48138226","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/s1054204322000569
Ariel Sibert, Fake Friends
The work of Brooklyn-based theatre company Fake Friends, always obsessed with screens, the self, and theatrical presence, gained a new following when they adapted their work for livestream during the Covid-19 pandemic. At the same time these adaptations, which transformed the company’s practice from “screens-on-stage” to “staged-for-screen,” reinvigorated debates around absence, presence, and alienation in the Zoom era.
{"title":"Vanity Monitor","authors":"Ariel Sibert, Fake Friends","doi":"10.1017/s1054204322000569","DOIUrl":"https://doi.org/10.1017/s1054204322000569","url":null,"abstract":"The work of Brooklyn-based theatre company Fake Friends, always obsessed with screens, the self, and theatrical presence, gained a new following when they adapted their work for livestream during the Covid-19 pandemic. At the same time these adaptations, which transformed the company’s practice from “screens-on-stage” to “staged-for-screen,” reinvigorated debates around absence, presence, and alienation in the Zoom era.","PeriodicalId":46402,"journal":{"name":"TDR-The Drama Review-The Journal of Performance Studies","volume":"66 1","pages":"56 - 72"},"PeriodicalIF":0.3,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43638055","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/S1054204322000570
Joseph R. Roach
The current theory of “camera presence” derives from ancient and early modern sources in theology, natural philosophy, rhetoric, and eventually science. As music depends on silence, “presence” in these disciplines depends on absence, and authorities framed their understanding of the expressiveness of actors by analogizing their performances to “electrical fire” based on the reciprocal action of positive and negative charges as effected by “phlogiston,” or “the stuff that isn’t there.”
{"title":"Presence and the Stuff That Isn’t There","authors":"Joseph R. Roach","doi":"10.1017/S1054204322000570","DOIUrl":"https://doi.org/10.1017/S1054204322000570","url":null,"abstract":"The current theory of “camera presence” derives from ancient and early modern sources in theology, natural philosophy, rhetoric, and eventually science. As music depends on silence, “presence” in these disciplines depends on absence, and authorities framed their understanding of the expressiveness of actors by analogizing their performances to “electrical fire” based on the reciprocal action of positive and negative charges as effected by “phlogiston,” or “the stuff that isn’t there.”","PeriodicalId":46402,"journal":{"name":"TDR-The Drama Review-The Journal of Performance Studies","volume":"66 1","pages":"73 - 82"},"PeriodicalIF":0.3,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44262567","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 : 2022-10-24DOI: 10.1017/s1054204322000521
Theatre Scholar
TDR’s correspondent writes about Moscow after the Russian invasion of Ukraine. The city is not saturated by military symbols; the main institutions are functioning; there is no mobilization. The new cage is being built smoothly and gradually.
{"title":"Letter from Moscow, July 2022","authors":"Theatre Scholar","doi":"10.1017/s1054204322000521","DOIUrl":"https://doi.org/10.1017/s1054204322000521","url":null,"abstract":"TDR’s correspondent writes about Moscow after the Russian invasion of Ukraine. The city is not saturated by military symbols; the main institutions are functioning; there is no mobilization. The new cage is being built smoothly and gradually.","PeriodicalId":46402,"journal":{"name":"TDR-The Drama Review-The Journal of Performance Studies","volume":"66 1","pages":"17 - 21"},"PeriodicalIF":0.3,"publicationDate":"2022-10-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45159424","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/S1054204322000284
Ali-Reza Mirsajadi
Iranian theatre director Zahra Sabri’s dramaturgy layers performers and puppets, puppets and puppeteers, collapsing distinctions between the inanimate and the animate in ways that allow spectators more freedom to interpret her work. Her 2012 Count to One enacts the creation, animation, and destruction of clay puppets while telling a story of three soldiers who refuse to follow orders to bomb a foreign city.
伊朗戏剧导演扎赫拉·萨布里(Zahra Sabri)的戏剧将表演者和木偶、木偶和木偶师分层，打破了无生命和有生命之间的区别，让观众更自由地解读她的作品。她的2012年作品《数到一》(Count to One)讲述了三名士兵拒绝执行轰炸外国城市的命令，并制作、动画和摧毁粘土木偶的故事。
{"title":"And of Clay We Are Created","authors":"Ali-Reza Mirsajadi","doi":"10.1017/S1054204322000284","DOIUrl":"https://doi.org/10.1017/S1054204322000284","url":null,"abstract":"Iranian theatre director Zahra Sabri’s dramaturgy layers performers and puppets, puppets and puppeteers, collapsing distinctions between the inanimate and the animate in ways that allow spectators more freedom to interpret her work. Her 2012 Count to One enacts the creation, animation, and destruction of clay puppets while telling a story of three soldiers who refuse to follow orders to bomb a foreign city.","PeriodicalId":46402,"journal":{"name":"TDR-The Drama Review-The Journal of Performance Studies","volume":"66 1","pages":"38 - 51"},"PeriodicalIF":0.3,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46250388","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/s1054204322000260
Carol Martin
{"title":"The Worlds of Directing","authors":"Carol Martin","doi":"10.1017/s1054204322000260","DOIUrl":"https://doi.org/10.1017/s1054204322000260","url":null,"abstract":"","PeriodicalId":46402,"journal":{"name":"TDR-The Drama Review-The Journal of Performance Studies","volume":"66 1","pages":"8 - 9"},"PeriodicalIF":0.3,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45814214","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/S1054204322000387
Tracy C. Davis
{"title":"Critical Perspectives on Contemporary Plays by Women: The Early Twenty-First Century. Edited by Penny Farfan and Lesley Ferris. Ann Arbor: University of Michigan Press, 2021; 315 pp. $90 cloth, $34.95 paper, e-book available.","authors":"Tracy C. Davis","doi":"10.1017/S1054204322000387","DOIUrl":"https://doi.org/10.1017/S1054204322000387","url":null,"abstract":"","PeriodicalId":46402,"journal":{"name":"TDR-The Drama Review-The Journal of Performance Studies","volume":"66 1","pages":"168 - 169"},"PeriodicalIF":0.3,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44482912","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/s1054204322000454
Halina Filipowicz
To some, the subtitle may sound intriguing; to others, odd, if not extravagant; to others still, preposterous, sensationalist, even off-putting. Salata is quick to point out that the baffling concept of the carnal prayer comes from Grotowski. Grotowski first used this term (in Polish, “modlitwa zmysłów”; literally, “a prayer of the senses”) in 1990 while discussing Ryszard Cieślak’s legendary performance in the Laboratory Theatre’s production of The Constant Prince (1965–70). It is Salata’s argument that Grotowski’s notion of the carnal prayer, along with his idea of the secure partner, described in Towards a Poor Theatre (1968) as a sort of virtual entity that demands from an actor a complete self-revelatory act, “provides a unique insight into his theory of acting as well as an opportunity to discuss the intersection of performance and religion” (xi). Read in relation to one another, the two concepts — the carnal prayer and the secure partner — push our understanding of Grotowski’s work forward in critical and ambitious ways.
{"title":"Acting After Grotowski: Theatre’s Carnal Prayer. By Kris Salata. London: Routledge, 2020; 150 pp.; illustrations. $128.00 cloth, $39.16 paper, e-book available.","authors":"Halina Filipowicz","doi":"10.1017/s1054204322000454","DOIUrl":"https://doi.org/10.1017/s1054204322000454","url":null,"abstract":"To some, the subtitle may sound intriguing; to others, odd, if not extravagant; to others still, preposterous, sensationalist, even off-putting. Salata is quick to point out that the baffling concept of the carnal prayer comes from Grotowski. Grotowski first used this term (in Polish, “modlitwa zmysłów”; literally, “a prayer of the senses”) in 1990 while discussing Ryszard Cieślak’s legendary performance in the Laboratory Theatre’s production of The Constant Prince (1965–70). It is Salata’s argument that Grotowski’s notion of the carnal prayer, along with his idea of the secure partner, described in Towards a Poor Theatre (1968) as a sort of virtual entity that demands from an actor a complete self-revelatory act, “provides a unique insight into his theory of acting as well as an opportunity to discuss the intersection of performance and religion” (xi). Read in relation to one another, the two concepts — the carnal prayer and the secure partner — push our understanding of Grotowski’s work forward in critical and ambitious ways.","PeriodicalId":46402,"journal":{"name":"TDR-The Drama Review-The Journal of Performance Studies","volume":" ","pages":"174 - 175"},"PeriodicalIF":0.3,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49146102","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/s1054204322000259
Majesty Royale
the space between the riot and i is a solo performed by Majesty Royale that uses movement and sound to investigate alternative modes of existence, memory, and ghostly inhabitance. The work exposes the physical body and sensorial landscape to rigorous transformation located in the liminal space between “here-now” and “then-there.” Majesty becomes a channel to emergent mythologies of the underworld with ritual practices derived from Black southern culture: sampling, chanting, sermon-ing, and marching. Majesty Royale is a dancer, shaper, sound explorer, and ghost. Majesty grew up in the land of the Eno and Occaneechi peoples (Durham, NC) and is based in Lenni-Lenape land (Philadelphia, PA). Majesty is a graduate of the University of the Arts (BFA Dance), 2020 Pina Bausch Choreography Fellow, and 2021 New York Live Arts Fresh Tracks Artist. https://www.glitterboiwonder.com/
{"title":"the space between the riot and i","authors":"Majesty Royale","doi":"10.1017/s1054204322000259","DOIUrl":"https://doi.org/10.1017/s1054204322000259","url":null,"abstract":"the space between the riot and i is a solo performed by Majesty Royale that uses movement and sound to investigate alternative modes of existence, memory, and ghostly inhabitance. The work exposes the physical body and sensorial landscape to rigorous transformation located in the liminal space between “here-now” and “then-there.” Majesty becomes a channel to emergent mythologies of the underworld with ritual practices derived from Black southern culture: sampling, chanting, sermon-ing, and marching. Majesty Royale is a dancer, shaper, sound explorer, and ghost. Majesty grew up in the land of the Eno and Occaneechi peoples (Durham, NC) and is based in Lenni-Lenape land (Philadelphia, PA). Majesty is a graduate of the University of the Arts (BFA Dance), 2020 Pina Bausch Choreography Fellow, and 2021 New York Live Arts Fresh Tracks Artist. https://www.glitterboiwonder.com/","PeriodicalId":46402,"journal":{"name":"TDR-The Drama Review-The Journal of Performance Studies","volume":" ","pages":"2 - 3"},"PeriodicalIF":0.3,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49637128","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：