The March 2019 issue of The Association of American Colleges and Universities reported that, in the twenty-year span between 1996 and 2016, student enrollment of non-white-identifying students increased by over 15 percent. However, according to Ben Dedman, “While the racial and ethnic make-up of students in higher education has become more diverse, ‘college faculty, staff, and administrators remain predominantly white.’” Today’s academics are not unsympathetic to the challenges of diversifying a student body and often look to expand their own diversity in appealing to the nation’s young people. Unfortunately, this perspective on diversification has proven much too simplistic to generate any substantive impact in increasing the inclusion of underrepresented groups. This article seeks to put forward a comprehensive but not exhaustive collection of recommendations to be considered in the areas of leadership and pedagogy, in part or in its entirety, in order to ensure the most audacious effort has been made to achieve this goal.
{"title":"A Multi-Point Call to Action for Diversifying Student Enrollment in Theatre Programs: The Framework for Providing Pathways Toward Building an Inclusive Culture","authors":"Julio Agustin","doi":"10.5325/tpnc.1.1.0065","DOIUrl":"https://doi.org/10.5325/tpnc.1.1.0065","url":null,"abstract":"\u0000 The March 2019 issue of The Association of American Colleges and Universities reported that, in the twenty-year span between 1996 and 2016, student enrollment of non-white-identifying students increased by over 15 percent. However, according to Ben Dedman, “While the racial and ethnic make-up of students in higher education has become more diverse, ‘college faculty, staff, and administrators remain predominantly white.’” Today’s academics are not unsympathetic to the challenges of diversifying a student body and often look to expand their own diversity in appealing to the nation’s young people. Unfortunately, this perspective on diversification has proven much too simplistic to generate any substantive impact in increasing the inclusion of underrepresented groups. This article seeks to put forward a comprehensive but not exhaustive collection of recommendations to be considered in the areas of leadership and pedagogy, in part or in its entirety, in order to ensure the most audacious effort has been made to achieve this goal.","PeriodicalId":517452,"journal":{"name":"Theatre and Performance Notes and Counternotes","volume":"52 43","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140400483","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A Response to Steven Urkowitz and Michael J. Hirrel","authors":"Joe Falocco","doi":"10.5325/tpnc.1.1.0111","DOIUrl":"https://doi.org/10.5325/tpnc.1.1.0111","url":null,"abstract":"","PeriodicalId":517452,"journal":{"name":"Theatre and Performance Notes and Counternotes","volume":"77 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140405886","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines the epistemological dimension of spectatorship in two lecture performances created by philosopher Bruno Latour and theater director Frédérique Aït-Touati. Inside (2016) and Moving Earths (2019) invite their audiences to question how they view the Earth, and to explore new visualizations that may foster political awareness of a “new climate regime.” The scenography and dramaturgy of these lectures perform the disruptions of perspective brought about by Gaia theory, in which the observer must perceive herself as part of an entangled Earth system. The article argues that despite this emphasis on entanglement, the philosopher on stage still functions as a figure of distanced theoretical spectatorship. The resulting tension between the lecture format and its philosophical content highlights the difficult position of the Anthropocene spectator, for whom totalizing, distanced views are both a necessity and a trap.
{"title":"Theory on Stage: The Paradox of Anthropocene Spectatorship in Latour and Aït-Touati’s Inside and Moving Earths","authors":"Liliane Campos","doi":"10.5325/tpnc.1.1.0017","DOIUrl":"https://doi.org/10.5325/tpnc.1.1.0017","url":null,"abstract":"\u0000 This article examines the epistemological dimension of spectatorship in two lecture performances created by philosopher Bruno Latour and theater director Frédérique Aït-Touati. Inside (2016) and Moving Earths (2019) invite their audiences to question how they view the Earth, and to explore new visualizations that may foster political awareness of a “new climate regime.” The scenography and dramaturgy of these lectures perform the disruptions of perspective brought about by Gaia theory, in which the observer must perceive herself as part of an entangled Earth system. The article argues that despite this emphasis on entanglement, the philosopher on stage still functions as a figure of distanced theoretical spectatorship. The resulting tension between the lecture format and its philosophical content highlights the difficult position of the Anthropocene spectator, for whom totalizing, distanced views are both a necessity and a trap.","PeriodicalId":517452,"journal":{"name":"Theatre and Performance Notes and Counternotes","volume":"18 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140286515","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Humiliation is a basic fact of life for many of the characters who populate the plays and adaptations of Nikolai Kolyada. The central figures in his plays, often middle-aged women, endure shame, humiliation, and tremendous loss at the hands of unrelenting perpetrators. Looking briefly at Kolyada’s representations of Liubov from Cherry Orchard, Blanche from Streetcar Named Desire, and SHE from Kolyada’s original play Nezhnost’ (Tenderness), this article examines the director’s depiction of the downtrodden and brutalized woman in modern cultures of disposability and waste. While the violence addressed here is directed at women in particular, Kolyada’s battered women represent the disposability of individuals in the hands of absolute power in an era marked by forgetfulness. These depictions can be read in relation to the reemergence of a hypermasculine Russian nationalism as well as emergent global neoliberalism.
对于尼古拉-科里亚达的戏剧和改编作品中的许多人物来说，屈辱是生活的基本事实。他剧中的核心人物通常是中年妇女，她们在无情的施暴者手中忍受着耻辱、屈辱和巨大的损失。本文简要回顾了科里亚达对《樱桃园》中的柳博夫、《欲望号街车》中的布兰奇以及科里亚达原创剧作《温柔》中的 SHE 的描写，探讨了导演对现代可有可无和浪费文化中受压迫和受摧残的女性的描绘。虽然本文所涉及的暴力尤其针对女性，但科里亚达笔下被殴打的女性代表了在一个以遗忘为特征的时代，个人在绝对权力手中的可有可无。这些描写可以与俄罗斯民族主义中的大男子主义以及新出现的全球新自由主义的重新崛起联系起来进行解读。
{"title":"Degradation in Hypermasculine Cultures of Disposability and Forgetfulness: Nikolai Kolyada’s Ekaterinburg Theatre","authors":"Valleri Robinson","doi":"10.5325/tpnc.1.1.0033","DOIUrl":"https://doi.org/10.5325/tpnc.1.1.0033","url":null,"abstract":"\u0000 Humiliation is a basic fact of life for many of the characters who populate the plays and adaptations of Nikolai Kolyada. The central figures in his plays, often middle-aged women, endure shame, humiliation, and tremendous loss at the hands of unrelenting perpetrators. Looking briefly at Kolyada’s representations of Liubov from Cherry Orchard, Blanche from Streetcar Named Desire, and SHE from Kolyada’s original play Nezhnost’ (Tenderness), this article examines the director’s depiction of the downtrodden and brutalized woman in modern cultures of disposability and waste. While the violence addressed here is directed at women in particular, Kolyada’s battered women represent the disposability of individuals in the hands of absolute power in an era marked by forgetfulness. These depictions can be read in relation to the reemergence of a hypermasculine Russian nationalism as well as emergent global neoliberalism.","PeriodicalId":517452,"journal":{"name":"Theatre and Performance Notes and Counternotes","volume":"78 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140286821","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article considers both improvised and scripted performances produced during the pandemic and the ways in which framing live performance creates gaze. In conversation with Laura Mulvey’s concept of the male gaze and Stephanie Jennings’s concept of the feminine gaze, this article analyzes the ways in which awareness of both of these gazes can inform the development of a new gaze—an agentic gaze—for Zoom Theatre. The agentic gaze requires an adapted directorial practice in order to create a dialectic among collaborators characterized by agentic symmetry; this article describes the ways in which a curatorial directing process accomplishes this.
{"title":"Meet My Gaze: Crafting the Agentic Gaze for Zoom Theatre","authors":"Amanda Rose Villarreal","doi":"10.5325/tpnc.1.1.0001","DOIUrl":"https://doi.org/10.5325/tpnc.1.1.0001","url":null,"abstract":"\u0000 This article considers both improvised and scripted performances produced during the pandemic and the ways in which framing live performance creates gaze. In conversation with Laura Mulvey’s concept of the male gaze and Stephanie Jennings’s concept of the feminine gaze, this article analyzes the ways in which awareness of both of these gazes can inform the development of a new gaze—an agentic gaze—for Zoom Theatre. The agentic gaze requires an adapted directorial practice in order to create a dialectic among collaborators characterized by agentic symmetry; this article describes the ways in which a curatorial directing process accomplishes this.","PeriodicalId":517452,"journal":{"name":"Theatre and Performance Notes and Counternotes","volume":"6 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140404676","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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