第 75 卷索引

IF 0.8 3区艺术学 0 THEATER THEATRE JOURNAL Pub Date : 2024-03-13 DOI:10.1353/tj.2023.a922244

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Seeking Critical Frameworks for Global Majority Theatre. 511–517. Herrera, Brian Eugenio. Revisiting (and Revising) West Side Story’s Parahistories Disciplinary Desires. 469–483. Hughes, Bethany. On Inclusion and Resurgence: The State of North American Indigenous Theatre and Performance Scholarship. 497–509. Jeong, Areum. From Witnessing to Redress: Objects, Remnants, and Wreckage after the Sewol. 167–186. Kim, Heidi. Waif, Orphan, Refugee: Staging Korean War Reparation in Lloyd Suh’s Bina’s Six Apples. 341–358. Kondo, Dorinne. Power and Theory: Structural Racism and Zones of Sanctioned Ignorance. 519–532. Kruger, Loren. Theatre and Capital Once Again: An Essay on an Informal Archive. 389–398. Lee, Josephine. “Moving Through and Beyond”: Asian American Theatre and Performance Studies. 399–412. Liu, Siyuan. Pingju (Ping Opera) and the Politics of Celebrity in 1930s Shanghai. 187–211. Meera, Suhaila. (Not So) Minor Encounters: Little Amal from The Jungle to The Walk. 321–340. Merrill Moss, Rachel. Skrzypek as Synecdoche: Polish–Jewishness in Fiddler on the Roof. 143–166. Metzger, Sean. Performance Studies Reorient. 547–552. Parker-Starbuck. Jennifer, Nonhuman Futures. 533–546. Power–Sotomayor, Jade. Un Llanto Colectivo: A PerformaProtesta. 121–142. Shea, Megan. Resisting Nonperformativity: Emma Sulkowicz’s Challenges to Victim-hood. 19–40. Smith, Kirstin. On the Couch: Casting, Cruel Optimism, and Memory Work. 1–18. Sofer, Andrew. Catastrophe Practices and the Ontological Gambit: Nicholas Mosley’s Plays for Not Acting. 455–467. Tompkins, Joanne. The Digital Turn: Research and Publishing in Theatre Journal. 425–436. Wooden, Isaiah Matthew. In Praise of Performance Reviews. 437–443. Worthen, W.B. Passing Theatre. 445–454. Young, Harvey. Whipping the Black Body in Delaware. 61–79. <h2>PERFORMANCE REVIEWS</h2> 1941s. Between Two Knees. 553–555. Aeschylus. The Suppliants: Ukraine. 213–216. Afrovibes Foundation Festival. 233–237. Belflower, Kimberly. John Proctor is the Villain. 366–369. Berlant, Kate. Kate. 578–579. Chekhov, Anton. The Seagull. 230–232. Childress, Alice. Trouble in Mind. 93–97. _____. Wedding Band. 93–97. [End Page 605] Dutta, Shomit. Stumped. 362–364. Edwards, Sherman. 1776. 558–560. Fernández de Sevilla, Luis (Libretto). Entre Sevilla Y Triana. 101–104. Fillinger, Selina. Potus. 89–93. Fujikura, chelfitsch and Dai. Metamorphosis of a Living Room (Ribinugu Rumu Metamorufoshizu). 567–570. Hansberry, Lorraine. The Sign in Sidney Brustein’s Window. 371–373. Li, Jianjun. The Master and Margarita. 364–366. Lindsay–Abaire, David (Lyrics). Kimberly Akimbo.360–362. Lopez, Matthew (Book). Some Like it Hot. 560–562. Lous, Édouard. Who Killed My Father. 244–246. Lutken, Sherry. The Porch on Windy Hill. 562–564. Ma, Xuan. The Master and Margarita. 364–366. Mirii, Ngūgī wa. I Will Marry When I Want/Ngaahika Ndeenda. 359–360. Molière. Le Misanthrope. 104–107. _____. Le Malade Imaginaire. 104–107. _____. Le Tartuffe Ou L’Hypocrite. 104–107. _____. Le Bourgeois Gentilhomme. 104–107. _____. L’Avare. 104–107. _____. Les Fourberries De Scapin. 104–107. Monahon, Talene. The Good John Proctor. 366–369. Montesquiua, Alicia. Las Hermanas De Manolete. 101–104. Morisseau, Dominique. Confederates. 224–226. Pelaez, Carmen. The Cuban Vote. 87–89. Pipes, Eliana. Dream House. 97–101. Nguyen, Thinh. Hobollywood. 373–375. Oregon Shakespeare Festival. 220–224. Rolón, Rosalba. Torched! 242–243. Rubio, Sergio. Inés De Ulloa. 369–371. Sakamoto, Edward. Aloha Las Vegas. 240–241. Sanaqulov, Shurat. Bibixonim. 237–240. Shakespeare, William. Hamlet. 216–220. Shange, Ntozake. For Colored Girls. 89–93. Sheikhzadeh, Maqsud. Mirzo Ulugbek. 237–240. Soyinka, Wole. Death and The King’s Horseman. 228–230. Sorozábal, Pablo (Music). Entre Sevilla Y Triana. 101–104. South... 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摘要

以下是内容的简要摘录，以代替摘要：第 75 卷索引投稿人索引文章 Arfara, Katia.人类狩猎博物馆：托马斯-贝林克的推测性纪录片》。277-299.Barclay, Kari.Erotic Returns：Erotic Returns: Sleeping with the Ancestors in Contemporary Plays about Sexual Violence.41-59.Bory, Alison and Ariel Nereson.A Set of Questions for a Field in Motion：A Set Questions for a Field in Motion: Susan Leigh Foster's "Choreographies of Protest" and Dance Studies in Theatre Journal.413-423.Chow, Broderick."Hold on to That Feeling"：Disciplinary Formations and Asian B-Sides.485-496.Cox, Emma.Unsanctioned Refugee Processing：Maritime Interception, Aesthetics, Hospitality.259-275.Golomb, Sariel.Channels Through the Humane：The Exiled Body in Crystal Pite's Flight Pattern.301-320.Gonzalez, Anita.Seeking Critical Frameworks for Global Majority Theatre.511-517.Herrera, Brian Eugenio.Revisiting (and Revising) West Side Story's Parahistories Disciplinary Desires.469-483.Hughes, Bethany.On Inclusion and Resurgence：The State of North American Indigenous Theatre and Performance Scholarship.497-509.Jeong, Areum.From Witnessing to Redress：Objects, Remnants, and Wreckage after the Sewol.167-186.Kim, Heidi.Waif, Orphan, Refugee：Waif, Orphan, Refugee: Staging Korean War Reparation in Lloyd Suh's Bina's Six Apples.341-358.Kondo, Dorinne.Power and Theory：Structural Racism and Zones of Sanctioned Ignorance.519-532.Kruger, Loren.Theatre and Capital Once Again：An Essay on an Informal Archive.389-398.Lee, Josephine."Moving Through and Beyond"：Asian American Theatre and Performance Studies.399-412.Liu, Siyuan.20 世纪 30 年代上海的平剧与名人政治》，上海：上海人民出版社。187-211.Meera, Suhaila.(Not So) Minor Encounters：从《丛林》到《散步》中的小阿玛尔》。321-340.Merrill Moss, Rachel.Skrzypek as Synecdoche: Polish-Jewishness in Fiddler on the Roof.143-166.Metzger, Sean.Performance Studies Reorient.547-552.Parker-Starbuck.Jennifer, Nonhuman Futures.533-546.Power-Sotomayor, Jade.Un Llanto Colectivo: A PerformaProtesta.121-142.Shea, Megan.Resisting Nonperformativity：Emma Sulkowicz's Challenges to Victim-hood.19-40.Smith, Kirstin.On the Couch：Casting, Cruel Optimism, and Memory Work.1-18.Sofer, Andrew.Catastrophe Practices and the Ontological Gambit：Nicholas Mosley's Plays for Not Acting.455-467.Tompkins, Joanne.The Digital Turn：The Digital Turn: Research and Publishing in Theatre Journal.425-436.Wooden, Isaiah Matthew.In Praise of Performance Reviews.437-443.Worthen, W.B. Passing Theatre.445-454.Young, Harvey.Whipping the Black Body in Delaware.61-79.PERFORMANCE REVIEWS 1941s.Between Two Knees.553-555.埃斯库罗斯Suppliants：乌克兰。213-216.Afrovibes 基金会节。233-237.Belflower, Kimberly.John Proctor is the Villain.366-369.Berlant, Kate.Kate.578-579.契诃夫，安东。海鸥230-232.Childress, Alice.心中的烦恼93-97._____.婚礼乐队93-97.[End Page 605] Dutta, Shomit.Stumped.362-364.Edwards，Sherman.1776.558-560.Fernández de Sevilla, Luis (Libretto).Entre Sevilla Y Triana.101-104.Fillinger, Selina.波图斯》。89-93.藤仓、切尔费奇、戴.客厅的蜕变（Ribinugu Rumu Metamorufoshizu）。567-570.Hansberry, Lorraine.西德尼-布鲁斯坦窗前的标志》。371-373.李建军大师与玛格丽特364-366.Lindsay-Abaire, David (Lyrics).Kimberly Akimbo.360-362.Lopez, Matthew (Book).Some Like it Hot.560-562.Lous，Édouard.谁杀了我的父亲》。244-246.Lutken, Sherry.风山上的门廊562-564.马璇大师与玛格丽特364-366.Mirii, Ngūgī wa.我想结婚时我就会结婚/Ngaahika Ndeenda.359-360.莫里哀。Le Misanthrope》。104-107._____.Le Malade Imaginaire.104-107._____.Le Tartuffe Ou L'Hypocrite.104-107._____.Le Bourgeois Gentilhomme.104-107._____.L'Avare.104-107._____.Les Fourberries De Scapin.104-107.Monahon, Talene.The Good John Proctor.366-369.Montesquiua, Alicia.Las Hermanas De Manolete.101-104.Morisseau, Dominique.邦联224-226.Pelaez, Carmen.古巴选票》。87-89.Pipes, Eliana.梦幻之家97-101.Nguyen, Thinh.霍博莱坞373-375.俄勒冈莎士比亚戏剧节220-224.Rolón, Rosalba.Torched！242-243.Rubio, Sergio.伊内斯-德乌洛亚369-371.Sakamoto, Edward.阿罗哈拉斯维加斯240-241.Sanaqulov, Shurat.比比克森姆237-240.Shakespeare, William.哈姆雷特216-220.Shange，Ntozake.献给有色人种女孩89-93.Sheikhzadeh, Maqsud.Mirzo Ulugbek.237-240.索因卡，沃莱死亡与国王的骑士》。228-230.Sorozábal, Pablo（音乐）。塞维利亚与特里亚纳》。101-104.南...

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Index to Volume 75

In lieu of an abstract, here is a brief excerpt of the content:

Index to Volume 75

CONTRIBUTORS’ INDEX

ARTICLES

Arfara, Katia. A Museum of Human Hunting: Thomas Bellinck’s Speculative Documentary. 277–299.

Barclay, Kari. Erotic Returns: Sleeping with the Ancestors in Contemporary Plays about Sexual Violence. 41–59.

Bory, Alison and Ariel Nereson. A Set of Questions for a Field in Motion: Susan Leigh Foster’s “Choreographies of Protest” and Dance Studies in Theatre Journal. 413–423.

Chow, Broderick. “Hold on to That Feeling”: Disciplinary Formations and Asian B-Sides. 485–496.

Cox, Emma. Unsanctioned Refugee Processing: Maritime Interception, Aesthetics, Hospitality. 259–275.

Golomb, Sariel. Channels Through the Humane: The Exiled Body in Crystal Pite’s Flight Pattern. 301–320.

Gonzalez, Anita. Seeking Critical Frameworks for Global Majority Theatre. 511–517. Herrera, Brian Eugenio. Revisiting (and Revising) West Side Story’s Parahistories Disciplinary Desires. 469–483.

Hughes, Bethany. On Inclusion and Resurgence: The State of North American Indigenous Theatre and Performance Scholarship. 497–509.

Jeong, Areum. From Witnessing to Redress: Objects, Remnants, and Wreckage after the Sewol. 167–186.

Kim, Heidi. Waif, Orphan, Refugee: Staging Korean War Reparation in Lloyd Suh’s Bina’s Six Apples. 341–358.

Kondo, Dorinne. Power and Theory: Structural Racism and Zones of Sanctioned Ignorance. 519–532.

Kruger, Loren. Theatre and Capital Once Again: An Essay on an Informal Archive. 389–398.

Lee, Josephine. “Moving Through and Beyond”: Asian American Theatre and Performance Studies. 399–412.

Liu, Siyuan. Pingju (Ping Opera) and the Politics of Celebrity in 1930s Shanghai. 187–211.

Meera, Suhaila. (Not So) Minor Encounters: Little Amal from The Jungle to The Walk. 321–340.

Merrill Moss, Rachel. Skrzypek as Synecdoche: Polish–Jewishness in Fiddler on the Roof. 143–166.

Metzger, Sean. Performance Studies Reorient. 547–552.

Parker-Starbuck. Jennifer, Nonhuman Futures. 533–546.

Power–Sotomayor, Jade. Un Llanto Colectivo: A PerformaProtesta. 121–142.

Shea, Megan. Resisting Nonperformativity: Emma Sulkowicz’s Challenges to Victim-hood. 19–40.

Smith, Kirstin. On the Couch: Casting, Cruel Optimism, and Memory Work. 1–18.

Sofer, Andrew. Catastrophe Practices and the Ontological Gambit: Nicholas Mosley’s Plays for Not Acting. 455–467.

Tompkins, Joanne. The Digital Turn: Research and Publishing in Theatre Journal. 425–436.

Wooden, Isaiah Matthew. In Praise of Performance Reviews. 437–443.

Worthen, W.B. Passing Theatre. 445–454.

Young, Harvey. Whipping the Black Body in Delaware. 61–79.

PERFORMANCE REVIEWS

1941s. Between Two Knees. 553–555.

Aeschylus. The Suppliants: Ukraine. 213–216.

Afrovibes Foundation Festival. 233–237.

Belflower, Kimberly. John Proctor is the Villain. 366–369.

Berlant, Kate. Kate. 578–579.

Chekhov, Anton. The Seagull. 230–232.

Childress, Alice. Trouble in Mind. 93–97.

_____. Wedding Band. 93–97. [End Page 605]

Dutta, Shomit. Stumped. 362–364.

Edwards, Sherman. 1776. 558–560.

Fernández de Sevilla, Luis (Libretto). Entre Sevilla Y Triana. 101–104.

Fillinger, Selina. Potus. 89–93.

Fujikura, chelfitsch and Dai. Metamorphosis of a Living Room (Ribinugu Rumu Metamorufoshizu). 567–570.

Hansberry, Lorraine. The Sign in Sidney Brustein’s Window. 371–373.

Li, Jianjun. The Master and Margarita. 364–366.

Lindsay–Abaire, David (Lyrics). Kimberly Akimbo.360–362.

Lopez, Matthew (Book). Some Like it Hot. 560–562.

Lous, Édouard. Who Killed My Father. 244–246.

Lutken, Sherry. The Porch on Windy Hill. 562–564.

Ma, Xuan. The Master and Margarita. 364–366.

Mirii, Ngūgī wa. I Will Marry When I Want/Ngaahika Ndeenda. 359–360.

Molière. Le Misanthrope. 104–107.

_____. Le Malade Imaginaire. 104–107.

_____. Le Tartuffe Ou L’Hypocrite. 104–107.

_____. Le Bourgeois Gentilhomme. 104–107.

_____. L’Avare. 104–107.

_____. Les Fourberries De Scapin. 104–107.

Monahon, Talene. The Good John Proctor. 366–369.

Montesquiua, Alicia. Las Hermanas De Manolete. 101–104.

Morisseau, Dominique. Confederates. 224–226.

Pelaez, Carmen. The Cuban Vote. 87–89.

Pipes, Eliana. Dream House. 97–101.

Nguyen, Thinh. Hobollywood. 373–375.

Oregon Shakespeare Festival. 220–224.

Rolón, Rosalba. Torched! 242–243.

Rubio, Sergio. Inés De Ulloa. 369–371.

Sakamoto, Edward. Aloha Las Vegas. 240–241.

Sanaqulov, Shurat. Bibixonim. 237–240.

Shakespeare, William. Hamlet. 216–220.

Shange, Ntozake. For Colored Girls. 89–93.

Sheikhzadeh, Maqsud. Mirzo Ulugbek. 237–240.

Soyinka, Wole. Death and The King’s Horseman. 228–230.

Sorozábal, Pablo (Music). Entre Sevilla Y Triana. 101–104.

South...

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来源期刊

THEATRE JOURNAL THEATER-

CiteScore

0.40

自引率

40.00%

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期刊介绍： For over five decades, Theatre Journal"s broad array of scholarly articles and reviews has earned it an international reputation as one of the most authoritative and useful publications of theatre studies available today. Drawing contributions from noted practitioners and scholars, Theatre Journal features social and historical studies, production reviews, and theoretical inquiries that analyze dramatic texts and production.

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