- "Proximity, Precarity, and Microscopic Distinctions in Nonhuman Performance: An Interview with Pei-Ying Lin" by Elizabeth Schiffler
- "Violent Continuities and the Possibility of Hope" by Patricia Ybarra
- "A Period of Extreme Uncertainty":A Conversation on Pandemic Theatre by AAPI Companies in California" by Janine Sun Rogers and Sean Metzger
Online Articles for the Shooting issue:
"Darkness is the degree to which the state can have their way with you": A Conversation between Artist, Curator, and Writer Christopher Cozier and Sean Metzger by Christopher Cozier and Sean Metzger
Online Articles for the AI issue:
"Performing Left and Right" by Ioana B. Juncan, Roopa Vasudevan, Anthony Glyn Burton, Tong Wu, and Yuguang Zhang
By E.J. Westlake
At the end of every year, I ask my Introduction to Theatre students to consider the resistant value of appropriation and hybridity. We had just read Derek Walcott’s Dream on Monkey Mountain, and my students were particularly struck by the figure of Lestrade, the mulatto corporal who declares that “Roman law is English law.” They engaged intensely with the final scene of apotheosis. My question to them is always whether it is possible to “dismantle the master’s house using the master’s tools” as we consider both Audre Lorde’s famous statement in Sister Outsider and the Caribbean postcolonial reappropriation of Caliban, how he learned the colonizer’s language in order to curse.
We spent the semester examining many forms of resistant art, from Brecht and Boal, the NEA 4, and the difficult work of people such as Ashley Lucas persevering to work with prisoners despite the COVID-19 pandemic. The need to understand the nature of something as elusive as “resistance” became all the more urgent after the election of 2016 as many of my students became the targets of hate. Everywhere, we considered the ways in which theatre artists create work that calls for critical distance...
'Making Something Happen Despite Borders and Critics: A Conversation with Artistic Leaders of Prague’s Archa Theatre, Ondřej Hrab and Jana Svobodová', by Dennis C. Beck, Ondřej Hrab, and Jana Svobodová
"On the Art of Alchemy and Unfolding Desires: A Conversation with María Magdalena Campos-Pons," by Sarah Lewis-Cappellari
Witnessing Oka Apesvchi / Protecting the Water, by Bethany Hughes
Performance, Climate, and Critical Art, by VK Preston
Stephen Scott-Bottoms, "Holding Back the River"
Laura Cull Ó Maoilearca
Tracy C. Davis
Tarryn Li-Min Chun
Kimberly Jannarone, "Mass Gymnastics: A Playlist"
Special Issue on Post-Fact Performance
Special Issue on Directions
Margherita Laera, "Editorial Comment"
Broderick D. V. Chow, "Feeling in Counterpoint: A Playlist"
Click on the links below to see the additional material available for Theatre Journal Volume 69 Number 4.
Photo Supplement for "Wayang in Museums: The Reverse Repatriation of Javanese Puppets" by Matthew Isaac Cohen
Click on text below to go to the new page.
Daphna Ben-Shaul’s essay, “A Home Unfound: The Political Modeling of the Domestic Performance,” addresses three productions that are located in domestic space. We are pleased to be able to provide the script of one of these productions, The Peacock of Silwan by Alma Ganihar and directed by Chen Alon and Sinai Peter (2012); and a brief clip of a second production, The Apartment, an adaptation of Franz Xaver Kroetz’s Request Concert staged by Michael Ronen, staged between 2010 and 2013.
The video clips here are taken from the film Reza Abdoh: Theater Visionary, a documentary film by Adam Soch, co-produced by Sandy Cleary. The editorial staff at Theatre Journal is grateful to Adam for providing these clips.
The data in these tables forms the empirical basis for our article’s conclusions and was compiled by means of questionnaire. The questionnaires were designed in collaboration with the Fujian Province Liyuan Experimental Theatre (FPLET) and were distributed to audiences along with their free programs.
Additional photos from the performances reviewed in this volume.
For the print edition of Volume 69, Number 1, please visit us at Project Muse: https://muse.jhu.edu/issue/36176
Aldridge in Action: Building a Visual Digital Interface
By Anita Gonzalez
Several key volumes locate the digital humanities as a developing discipline, struggling to define itself as both a methodology for research and as an engagement with technology in the service of the humanities. Patrik Svensson, in particular, positions digital humanities as occupying an in-between position that enables dynamism within the humanities so that “it can accommodate many interests and perspectives.” This essay discusses how the development of a digital theatre-history tool became a process for animating multiple sectors of the university, and stimulating their interest in theatre history research. The project of visualizing the careers of underrepresented performers dynamically activated an interdisciplinary team of students, staff, and faculty members around construction of the digital tool.
Supplementary matter to the December issue:
We invite authors of the print issue to provide additional images to support their essays, color versions of the images that appear in print in black and white, or other resources that help enhance their essay and/or extend debate. We include these resources to supplement the December issue:
Digital Historiography and Performance
By Sarah Bay-Cheng
In the wake of the so-called "digital revolution,"...