A SCHOLARLY BOOK REPOSITORY139 start with T start with T
The essays in the thirty-first volume of Theatre Symposium traverse disciplinary boundaries to explore what constitutes the “popular” in theater and performance in an increasingly frenetic and mediated landscape. Amid the current resurgence of populist discourse and the enduring impact of popular culture, this volume explores what is considered popular, how that determination gets made, and who makes it. The answers to these questions shape the structures and systems of performance in an interaction that is reciprocal, intricate, and multifaceted. Productions often succeed or fail based on their ability to align with what is popular—sometimes productively, sometimes clumsily, sometimes brazenly, and sometimes tragically.
In our current moment, what constitutes the popular profoundly affects the real world politically, economically, and socially. Controversies about the electoral college system hinge on the primacy of the “popular” vote. Streaming services daily update lists of their most popular content and base future decisions on opaque measures of popularity. Social media platforms broadcast popular content across the globe, triggering new products, social activism, and political revolutions.
The contributors to this volume engage with a range of contemporary and historical examples and argue with clarity and acuity the interplay of performance and the popular. Theatre and performance deeply engage with the popular at every level—from audience response to box office revenue. The variety of methodologies and sites of inquiry showcased in this volume demonstrates the breadth and depth of the popular and the importance of such work to understanding our present moment onstage and off.
CONTRIBUTORS
Mysia Anderson / Chase Bringardner / Elizabeth M. Cizmar / Chelsea Curto / Janet M. Davis / Tom Fish / Kyla Kazuschyk / Sarah McCarroll / Eleanor Owicki / Sunny Stalter-Pace / Chelsea Taylor / Chris Woodworth
A new volume of the longstanding theatre journal, documenting conversations that traverse disciplinary boundaries
Theater Symposium, Volume 32 delves into the collaborative dynamics and ritualistic exchanges within performance during the collective resurgence into a hopeful post-COVID world. This volume’s contributors embark on a journey through the vibrant realm of material performance, with puppetry at the forefront, guiding readers into an expansive landscape of object performance styles and structures. As they navigate this terrain, they pose critical questions that unravel the complexities of object performance analysis and its impact on audiences. Bringing together perspectives from designers, creators, and performers, this volume explores how object performances serve as a medium to engage with the world, fostering synchrony and positive outcomes across a diverse array of artistic practices. Theater Symposium, Volume 32 invites readers to expand their understanding of collaborative practices and the object world, whether it be through the lens of labor or entertainment.
Contributors
Ashley Bellet / Francesca Marie Chilcote / Elisabeth Hostetter / Rebecca Johnson / Kyla Kazuschyk / Keith Byron Kirk / Jesse Njus / Claudia Orenstein / Paulette Richards / Dory Sibley / Echo Sunyata Sibley / Skye Strauss
The first part of Dharwadker’s study deals with the new dramatic canon that emerged after 1950 and the variety of ways in which plays are written, produced, translated, circulated, and received in a multilingual national culture. The second part traces the formation of significant postcolonial dramatic genres from their origins in myth, history, folk narrative, sociopolitical experience, and the intertextual connections between Indian, European, British, and American drama. The book’s ten appendixes collect extensive documentation of the work of leading playwrights and directors, as well as a record of the contemporary multilingual performance histories of major Indian, Western, and non-Western plays from all periods and genres. Treating drama and theatre as strategically interrelated activities, the study makes post-independence Indian theatre visible as a multifaceted critical subject to scholars of modern drama, comparative theatre, theatre history, and the new national and postcolonial literatures.
Reviewing print culture in the 1840s, Brooks shows how newspapers, magazines, and popular fiction provided documentation of dancing in Philadelphia as well as the responses of dance commentators, practitioners, and moralists. Theatres of the Body also considers the interplay of science with dance in the 1850s, which impacted both dance practices and reception.
Providing an expansive historiography of these significant contributions to dance in the United States, Brooks deepens our understanding of antebellum culture and history.
Investigating late imperial Russian and early Soviet modernism’s reinvention of the actor
In this wide-ranging study, Alisa Ballard Lin argues that Russian theatrical theory and practice contributed to a broad pre- and postrevolutionary discourse about the mind, profoundly reshaping concepts of consciousness, perception, identity, and the constitution of the subject. Theatrical Consciousness: The Actor’s Mind in Russian Modernism examines efforts in Russian theater—from around the turn of the century through the mid-1930s—to stimulate, train, imagine, and ultimately understand the actor’s, as well as the spectator’s, mind. Discussing key figures of the period, including Nikolai Evreinov, Konstantin Stanislavsky, Vsevolod Meyerhold, and Alexander Tairov, Lin identifies an underappreciated dimension of humanism within Russian modernism: a humanism that resisted the pressures of an increasingly technologized, industrialized, and politicized modernity that challenged the place of the human within it.
Theatrical Scene Painting: A Lesson Guide, second edition, is a practical guide to scene painting for students and novices, as well as a reference for intermediate scene painters who wish to refresh or supplement their basic skills. Drawing on his extensive teaching and scene-painting experience, William H. Pinnell clarifies and expands on the lessons of the first edition, providing a detailed overview of the fundamentals of traditional scene painting.
The guide not only covers the basic tools of the trade and various methods of creating texture on scenery but also includes more advanced techniques for scene making, beginning with stonework, woodwork, and wallpaper before moving on to the more intricate techniques of moldings, paneling, drapery, foliage, shiny metal, perspective illusions, scale transfers, scenic drops, and scrims. Pinnell also includes refinements and embellishments that can lead to the development of personal style without sacrificing the goal of realism and more advanced work. Alternative methods to achieve different effects are also featured.
Theatrical Scene Painting: A Lesson Guide was the first book of its kind to provide clear step-by-step instructions in how to paint a wide variety of basic and advanced effects commonly needed for the theater. This new edition clarifies the origins of painting techniques and is supplemented with clearer step-by-step descriptions, new instructional photographs, and drawings that illustrate each major step. This edition also includes additional painting projects and their possible variations, a gallery of nineteen examples of professional scenic works, and an expanded glossary to eliminate confusion in terms.
Useful to both self-taught artists and students, each lesson in the guide can be a stand-alone topic or can form the foundation for a student to build skills for increasingly complex techniques.
The second edition of Theatrical Scene Painting provides many new essential scene painting projects in a clearer format, broadens the scope of the painting examples, and includes updated methods as well as new lessons. This clear and easily accessible guide gives students the ability to put together recognizable illusions.
This handbook explains the techniques of traditional scene painting. A “how to” book for the novice, it shows the methods used in creating the illusion of three dimensions where only two exist. It provides a step-by-step explanation of each aspect of scene painting, using both color and black-and-white photographs for illustration.
Among the many illusions made possible through the magic of paint are stonework, wallpaper, woodwork, as well as mouldings, draperies, and foliage. To teach the beginner how to re-create reality through painted illusion, Pinnell emphasizes traditional scene painting, including basic tools, primary painting techniques, and methods for creating texture on scenery. He also illustrates refinements and embellishments that lead to more advanced work.
Examines how the politics of the theater can illuminate the theatricality of politics
Theatricality is often dismissed as a distraction from “real” politics, as when cynical political gestures are derided as “pure theater” or “only theater.” But the artists and theater companies discussed in this book, including Back to Back Theatre, Tim Crouch, Rabih Mroué, Nature Theater of Oklahoma, and Christoph Schlingensief, take a different approach. Theron Schmidt argues that they represent a “theatricalist turn” that explores and tests the conditions of the theater itself. Across diverse contexts of political engagement, ranging from disability rights to representations of violence, these theatrical conditions are interconnected with political struggles, such as those over who is seen and heard, how labor is valued, and what counts as “political” in the first place. In a so-called post-political era, The Theatricalists argues that an examination of theater’s internal politics can expand our understanding of the theatricality of politics more broadly.
Drawing on evidence from the surviving texts of tragedies by Aeschylus, Sophocles, and Euripides, Ley explains how scenes with actors were played in the open ground of the orchestra, often considered as exclusively the dancing place of the chorus. In reviewing what is known of the music and dance of Greek antiquity, Ley goes on to show that in the original productions the experience of the chorus—expressed in song and dance and in interaction with the characters—remained a vital characteristic in the performance of tragedy.
Combining detailed analysis with broader reflections about the nature of ancient Greek tragedy as an art form, this volume—supplemented with a series of illustrative drawings and diagrams—will be a necessary addition to the bookshelf of anyone interested in literature, theater, or classical studies.
Clothing matters. This basic axiom is both common sense and, in another way, radical. It is from this starting point that Michelle Liu Carriger elucidates the interconnected ways in which gender, sexuality, class, and race are created by the everyday act of getting dressed. Theatricality of the Closet: Fashion, Performance, and Subjectivity between Victorian Britain and Meiji Japan examines fashion and clothing controversies of the nineteenth century, drawing on performance theory to reveal how the apparently superficial or frivolous deeply affects the creation of identity.
By interrogating a set of seemingly disparate examples from the same period but widely distant settings—Victorian Britain and Meiji-era Japan—Carriger disentangles how small, local, ordinary practices became enmeshed in a global fabric of cultural and material surfaces following the opening of trade between these nations in 1850. This richly illustrated book presents an array of media, from conservative newspapers and tabloids to ukiyo-e and early photography, that locate dress as a site where the individual and the social are interwoven, whether in the 1860s and 1870s or the twenty-first century.
Through diagrams, sketches, and models, along with explications of the essential tools and materials required, Payne defines and delineates the precise step-by-step procedures of scenographic modelmaking: the basic preparations of construction, the process of making the model, and the experimental aspects of modelmaking. This new edition with 50 additional illustrations and other new information offers teachers, students, and beginning professionals alike a complete and comprehensive approach to creating and constructing the scenographic model.
The fugitive slave known as “Three-Fingered Jack” terrorized colonial Jamaica from 1780 until vanquished by Maroons, self-emancipated Afro-Jamaicans bound by treaty to police the island for runaways and rebels. A thief and a killer, Jack was also a freedom fighter who sabotaged the colonial machine until his grisly death at its behest. Narratives about his exploits shed light on the problems of black rebellion and solutions administered by the colonial state, creating an occasion to consider counter-narratives about its methods of divide and conquer. For more than two centuries, writers, performers, and storytellers in England, Jamaica, and the United States have “thieved" Three Fingered Jack's riveting tale, defining black agency through and against representations of his resistance.
Frances R. Botkin offers a literary and cultural history that explores the persistence of stories about this black rebel, his contributions to constructions of black masculinity in the Atlantic world, and his legacies in Jamaican and United States popular culture.
Drawing on decades of research and interviews with Wright’s family and Wright scholars, Bruce Allen Dick uncovers the theatrical influence on Wright’s oeuvre--from his 1930s boxing journalism to his unpublished one-acts on returning Black GIs in WWII to his unproduced pageant honoring Vladimir Lenin. Wright maintained rewarding associations with playwrights, writers, and actors such as Langston Hughes, Theodore Ward, Paul Robeson, and Lillian Hellman, and took particular inspiration from French literary figures like Jean-Paul Sartre. Dick’s analysis also illuminates Wright’s direct involvement with theater and film, including the performative aspects of his travel writings; the Orson Welles-directed Native Son on Broadway; his acting debut in Native Son’s first film version; and his play “Daddy Goodness,” a satire of religious charlatans like Father Divine, in the 1930s.
Bold and original, Thunder on the Stage offers a groundbreaking reinterpretation of a major American writer.
Masterfully synthesizing a wealth of research and experiences, Time Slips will interest scholars and readers in the fields of theater and performance studies, queer studies, and American studies.
The plays are very different in style and include the use of physical theatre, naturalistic explorations of human rights abuses, and symbolic structures, puppets and poetry. The plays are supported by an analysis of their processes and themes. All have reached production and the text is supplemented by photographs of these performances.
Winner of the 2019 Art Journal Prize from the College Art Association
What is the role of pleasure and pain in the politics of art? In Touched Bodies, Mara Polgovsky Ezcurra approaches this question as she examines the flourishing of live and intermedial performance in Latin America during times of authoritarianism and its significance during transitions to democracy. Based on original documents and innovative readings, her book brings politics and ethics to the discussion of artistic developments during the “long 1980s”. She describes the rise of performance art in the context of feminism, HIV-activism, and human right movements, taking a close look at the work of Diamela Eltit and Raúl Zurita from Chile, León Ferrari and Liliana Maresca from Argentina, and Marcos Kurtycz, the No Grupo art collective, and Proceso Pentágono from Mexico. The comparative study of the work of these artists attests to a performative turn in Latin American art during the 1980s that, like photography and film before, recast the artistic field as a whole, changing the ways in which we perceive art and understand its role in society.
Bringing together seven critically acclaimed feminist adaptations of literary classics and one delightfully original new work, this collection demonstrates why Kate Hamill is one of the most electrifying and widely produced playwrights working today. Whether probing the power of toxic leaders (The Piper), revitalizing Jane Austen for the stage (Sense and Sensibility, Pride and Prejudice, Emma), “cheerfully desecrating” Arthur Conan Doyle through a post-pandemic lens (Ms. Holmes & Ms. Watson—Apt. 2B), reexamining an American classic’s gender roles (Little Women), or dramatizing the nineteenth-century classic of puritanical New England through the lens of an ostracized mother and daughter (The Scarlet Letter), Hamill’s work has transformed the theatrical landscape over the past decade.
An introduction from editor Kristin Leahey and an interview with Hamill frame this landmark anthology, with reflections on the current state of American drama, Hamill’s unique dramaturgical practice, and how the art form may move further and faster toward a feminist theater.
Malick situates Arden's dramaturgy in the wider context of the radical alternative tradition in Western drama, drawing connections to Brecht, Piscator, the radical playwrights of the 1960s. He then explores the formal structure, ideological implications, and historical significance of Arden's work, treating his stage plays as one dramaturgically coherent opus- from the early Waters of Babylon to his and Margaretta D'Arcy's ambitious trilogy, The Island of the Mighty. Finally, he discusses the last phase of Arden and D'Arcy's political and artistic development, which led them to turn their backs on the professional theater circuit. He argues that Arden's rejection of the institutional stage was the logical outcome of his persistent search for alternative forms of political theater.
Toward a Theater of the Oppressed will be invaluable reading for those interested in modern drama, political theater, and popular performance, as well as students of contemporary British drama.
Javed Malick is Reader in English, Khalsa College, University of Delhi, India.
Born to itinerant Jewish peddlers in 1821, Rachel arrived on the Paris stage at the age of fifteen. She became both a symbol of her culture’s highest art and a clue to its values and obsessions. Fascinated with all things Napoleonic, she was the mother of Napoleon’s grandson and the lover of many men connected to the emperor. Her story—the rise from humble beginnings to queen of the French state theater—echoes and parodies Napoleon’s own. She decisively controlled her career, her time, and finances despite the actions and claims of managers, suitors, and lovers. A woman of exceptional charisma, Rachel embodied contradiction and paradox. She captured the attention of her time and was memorialized in the works of Matthew Arnold, Charlotte Brontë, George Eliot, and Henry James.
Richly illustrated with portraits, photographs, and caricatures, Tragic Muse combines brilliant literary analysis and exceptional historical research. With great skill and acuity, Rachel M. Brownstein presents Rachel—her brief intense life and the image that was both self-fashioned and, outliving her, fashioned by others. First published by Knopf (1993), this book will attract a broad audience interested in matters as wide ranging as the construction of character, the cult of celebrity, women’s lives, and Jewish history. It will also be of enduring interest to readers concerned with nineteenth-century French culture, history, literature, theater, and Romanticism. Tragic Muse won the 1993 George Freedley Award presented by the Theater Library Association.
Shortly after the establishment of the People’s Republic of China in 1949, the PRC launched a reform campaign that targeted traditional song and dance theater encompassing more than a hundred genres, collectively known as xiqu. Reformers censored or revised xiqu plays and techniques; reorganized star-based private troupes; reassigned the power to create plays from star actors to the newly created functions of playwright, director, and composer; and eliminated market-oriented functionaries such as agents. While the repertoire censorship ended in the 1980s, major reform elements have remained: many traditional scripts (or parts of them) are no longer in performance; actors whose physical memory of repertoire and acting techniques had been the center of play creation, have been superseded by directors, playwrights, and composers. The net result is significantly diminished repertoires and performance techniques, and the absence of star actors capable of creating their own performance styles through new signature plays that had traditionally been one of the hallmarks of a performance school. Transforming Tradition offers a systematic study of the effects of the comprehensive reform of traditional theater conducted in the 1950s and ’60s, and is based on a decade’s worth of exhaustive research of official archival documents, wide-ranging interviews, and contemporaneous publications, most of which have never previously been referenced in scholarly research.
In Transgenerational Remembrance, Jessica Nakamura investigates the role of artistic production in the commemoration and memorialization of the Asia-Pacific War (1931–1945) in Japan since 1989. During this time, survivors of Japanese aggression and imperialism, previously silent about their experiences, have sparked contentious public debates about the form and content of war memories.
The book opens with an analysis of the performance of space at Yasukuni Shinto Shrine, which continues to promote an anachronistic veneration of the war. After identifying the centrality of performance in long-standing dominant narratives, Transgenerational Remembrance offers close readings of artistic performances that tackle subject matter largely obscured before 1989: the kamikaze pilot, Japanese imperialism, comfort women, the Battle of Okinawa, and Japanese American internment. These case studies range from Hirata Oriza’s play series about Japanese colonial settlers in Korea and Shimada Yoshiko’s durational performance about comfort women to Kondo Aisuke’s videos and gallery installations about Japanese American internment.
Working from theoretical frameworks of haunting and ethics, Nakamura develops an analytical lens based on the Noh theater ghost. Noh emphasizes the agency of the ghost and the dialogue between the dead and the living. Integrating her Noh-inflected analysis into ethical and transnational feminist queries, Nakamura shows that performances move remembrance beyond current evidentiary and historiographical debates.
Translocas focuses on drag and transgender performance and activism in Puerto Rico and its diaspora. Arguing for its political potential, Lawrence La Fountain-Stokes explores the social and cultural disruptions caused by Latin American and Latinx “locas” (effeminate men, drag queens, transgender performers, and unruly women) and the various forms of violence to which queer individuals in Puerto Rico and the U.S. are subjected. This interdisciplinary, auto-ethnographic, queer-of-color performance studies book explores the lives and work of contemporary performers and activists including Sylvia Rivera, Nina Flowers, Freddie Mercado, Javier Cardona, Jorge Merced, Erika Lopez, Holly Woodlawn, Monica Beverly Hillz, Lady Catiria, and Barbra Herr; television programs such as RuPaul’s Drag Race; films such as Paris Is Burning, The Salt Mines, and Mala Mala; and literary works by authors such as Mayra Santos-Febres and Manuel Ramos Otero. Lawrence La Fountain-Stokes, a drag performer himself, demonstrates how each destabilizes (and sometimes reifies) dominant notions of gender and sexuality through drag and their embodied transgender expression. These performances provide a means to explore and critique issues of race, class, poverty, national identity, and migratory displacement while they posit a relationship between audiences and performers that has a ritual-like, communal dimension. The book also analyzes the murders of Jorge Steven López Mercado and Kevin Fret in Puerto Rico, and invites readers to challenge, question, and expand their knowledge about queer life, drag, trans performance, and Puerto Rican identity in the Caribbean and the diaspora. The author also pays careful attention to transgender experience, highlighting how trans activists and performers mold their bodies, promote social change, and create community in a context that oscillates between glamour and abjection.
A material history of racialized performance throughout the Anglophone imperial world, Transoceanic Blackface: Empire, Race, Performance revises prevailing understandings of blackface and minstrelsy as distinctively US American cultural practices. Tracing intertwined histories of racialized performance from the mid-eighteenth through the early twentieth century across the United States and the British Empire, this study maps the circulations of blackface repertoires in theatrical spectacles, popular songs, visual materials, comic operas, closet dramas, dance forms, and Shakespearean burlesques.
Kellen Hoxworth focuses on overlooked performance histories, such as the early blackface minstrelsy of T. D. Rice’s “Jump Jim Crow” and the widely staged blackface burlesque versions of Othello, as traces of the racial and sexual anxieties of empire. From the nascent theatrical cultures of Australia, Britain, Canada, India, Jamaica, South Africa, and the United States, Transoceanic Blackface offers critical insight into the ways racialized performance animated the imperial “common sense” of white supremacy on a global scale.
This book offers a unique perspective on 1930s theatre and performance, encompassing the theatrical work of the Cuban, Puerto Rican, and Spanish diasporas in the United States, as well as the better-known Anglophone communities. Jackson-Schebetta situates well-known figures, such as Langston Hughes and Clifford Odets, alongside lesser-known ones, such as Erasmo Vando, Franca de Armiño, and Manuel Aparicio. The milicianas, female soldiers of the Spanish Republic, stride on stage alongside the male fighters of the Lincoln Brigade. They and many others used the multiple visions of Spain forged during the civil war to foment decolonial practices across the pasts, presents, and futures of the Americas. Traveler conclusively demonstrates that theatre and performance scholars must position US performances within the Americas writ broadly, and in doing so they must recognize the centrality of the hemisphere’s longest-lived colonial power, Spain.
Talk of Joseph Stalin’s “show trials,” the public prosecutions in Moscow’s Hall of Columns in the late 1930s, is so familiar as to obscure the relationship between actual shows—in the Soviet Union’s major theaters—and politics. Travesty Actors: Self and Theater in Stalinist Culture examines theatrical performance within the context of the Soviet cultural establishment’s fashioning of a “genuine Soviet person.” Boris Wolfson focuses on prominent and controversial plays by artists including Aleksandr Afinogenov, Mikhail Bulgakov, Yuri Olesha, and Natalia Sats and the efforts of theater companies, like the Moscow Arts Theater, the Meyerhold Theater, and the Central Children’s Theater, to adhere to this cultural mandate while grappling with repression, censorship, and conflicting interpretations of its aims. Drawing on archival materials, diaries and memoirs and eyewitness accounts, Wolfson greatly illuminates the achievements of Soviet theater during this harsh period and the cultural significance of artistic theories and practices for articulating and enacting ideological programs.
Was there more to comedy than Chaucer, the Second Shepherds’ Play, or Shakespeare? Of course! But, for a real taste of medieval and Renaissance humor and in-your-face slapstick, one must cross the Channel to France, where over two hundred extant farces regularly dazzled crowds with blistering satires. Dwarfing all other contemporaneous theatrical repertoires, the boisterous French corpus is populated by lawyers, lawyers everywhere. No surprise there. The lion’s share of mostly anonymous farces was written by barristers, law students, and legal apprentices. Famous for skewering unjust judges and irreligious ecclesiastics, they belonged to a 10,000-member legal society known as the Basoche, which flourished between 1450 and 1550. What is more, their dramatic send-ups of real and fictional court cases were still going strong on the eve of Molière, resilient against those who sought to censor and repress them. The suspenseful wait to see justice done has always made for high drama or, in this case, low drama. But, for centuries, the scripts for these outrageous shows were available only in French editions gathered from scattered print and manuscript sources.
In Trial by Farce, prize-winning theater historian Jody Enders brings twelve of the funniest legal farces to English-speaking audiences in a refreshingly uncensored but philologically faithful vernacular. Newly conceived as much for scholars as for students and theater practitioners, this repertoire and its familiar stock characters come vividly to life as they struggle to negotiate the limits of power, politics, class, gender, and, above all, justice. Through the distinctive blend of wit, social critique, and breathless boisterousness that is farce, we gain a new understanding of comedy itself as form of political correction. In ways presciently modern and even postmodern, farce paints a different cultural picture of the notoriously authoritarian Middle Ages with its own vision of liberty and justice for all. Theater eternally offers ways for new generations to raise their voices and act.
Campesinos inhabit some of the island's most isolated areas, including the mountainous regions in central and eastern Cuba where Laurie A. Frederik conducted research among rural communities and professional theater groups. Analyzing the ongoing dialogue of cultural officials, urban and rural artists, and campesinos, Frederik provides an on-the-ground account of how visions of the nation are developed, manipulated, dramatized, and maintained in public consciousness. She shows that cubanía is defined, and redefined, in the interactive movement between intellectual, political, and everyday worlds.
The Trustus Plays collects three full-length, award-winning performance texts by American playwright Jon Tuttle. Each play was a winner of the national Trustus Playwrights Festival contest and was then produced by the Trustus Theatre in Columbia, South Carolina. The Hammerstone is a comedy about two professors aging gracelessly, Drift is a dark comedy about marriage and divorce, and Holy Ghost is the story of German POWs held in the camps in the American south. Jon Tuttle provides an introduction to the plays, and Trustus founder and artistic director, Jim Thigpen, offers a preface describing Tuttle’s work within the context of the Trustus theatre’s dedication to experimental, edgy social drama.
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