• On Editing, Paying it Forward, and Having Energy: A Conversation with Jean Graham-Jones, Former Editor
• Jean Graham-Jones (bio) and Carla Neuss (bio)

This interview was conducted in June 2023 at Yale University through the support and generosity of the Yale Institute of Sacred Music, UCLA, and ATHE; it has been edited for clarity and length.

I was coeditor and then editor of Theatre Journal from 2004 through the end of 2007. I worked first with Harry Elam and then with David Saltz. It was a wonderful experience. I really love the apprenticeship model. Being coeditor and actively producing issues—it’s such a relief to have that under your belt by the time you assume the editorship. But that wasn’t my first engagement with Theatre Journal. I first published an article with Theatre Journal in 2001, edited by Susan Bennett. It was from my revised dissertation, which turned into a monographic study, and I was writing about censorship and Buenos Aires, Argentine theatre, and theatre artists during the military dictatorship of 1976 to 1983. I just submitted an article cold, as we all do. I sought to insert myself into a larger conversation. I’ll talk some more about that later on. But I really wanted to talk about Argentine theatre outside of a strictly Latin American theatre context, which is also a world I live in and love.

So that was my first experience publishing with Theatre Journal. Afterward, in 2014, I published another essay. Ric Knowles was the editor at that point, and that piece was about Argentine theatre during the latest socioeconomic crisis at the beginning of [End Page E-81] the twenty-first century. My students are always surprised: “You just submitted it like everybody else?” And I say, “Well, yeah, you’ve got to walk the talk.” I also published a performance review essay on the contemporary Buenos Aires theatre scene at the invitation of then-performance review editor Daniel Sack. That was a lot of fun. I think that was 2016. And my monographs have been reviewed in Theatre Journal as well. I’m currently on the editorial board, and I continue to serve as a peer reviewer. So I’m a big fan, and editing Theatre Journal remains one of the highlights of my entire academic career. It happened because after that first article was published, Janelle Reinelt, a former editor of Theatre Journal from a little bit before then sent me an email and said, “Jean, I think you should apply to be coeditor of Theatre Journal.” I said, “Wow, thank you. That’s a great idea. Someday I’ll do it.” And Janelle said, “No, do it now while you still have the energy.” So I have Janelle to thank for that connection.

Other things that I loved about my editing experience, other than getting to have these wonderful conversations with my colleagues, was getting to read an immense amount of work; you really do feel like you have your finger on the pulse of current scholarship and it’s truly energizing to be able to do that. I also felt that writing editorial comments required a different kind of writing: you’re speaking directly to your readers and writing on behalf of the journal. It was a remarkable and unusual exercise to write those editorial comments. With two general issues and two special issues a year, I spent—as editors do—a really long time thinking about what the focus of my special issues would be. Two, the first one and the last one, come directly out of my own work; I led off with a Latin American theatre special issue because that was my calling card and an opportunity to take a regional stand, and I ended with an issue on theatrical translation, which is also a space where I work and live.

The other two special issues I edited were not necessarily topics I was invested in yet, research-wise, though I subsequently became so I edited a special issue on hearing theatre and then another one on theorizing globalization through theatre. The hearing theatre issue came out of a conversation...

• 论编辑、前行和充满活力：与前编辑Jean Graham-Jones 的对话
• 让·格雷厄姆·琼斯（简介）和卡拉·诺伊斯（简介）

此次采访于 2023 年 6 月在耶鲁大学进行，得到了耶鲁大学宗教音乐学院、加州大学洛杉矶分校和 ATHE 的支持和慷慨支持；为了清晰和长度，它已经过编辑。

从 2004 年到 2007 年底，我先后担任《戏剧杂志》的联合编辑和编辑。我首先与 Harry Elam 合作，然后与 David Saltz 合作。这是一个奇妙的经历。我真的很喜欢学徒模式。作为共同编辑并积极制作期刊——当您担任编辑时，能做到这一点真是一种解脱。但这并不是我第一次与《戏剧杂志》合作。我于 2001 年首次在《戏剧杂志》上发表了一篇文章，由苏珊·贝内特 (Susan Bennett) 编辑。这是我修改后的论文，后来变成了一篇专题研究，我正在写关于 1976 年至 1983 年军事独裁期间的审查制度和布宜诺斯艾利斯、阿根廷剧院和戏剧艺术家的文章。我刚刚提交了一篇冷酷的文章，就像我们所有人一样。我试图将自己融入到更大的对话中。稍后我会详细讨论这一点。但我真的很想在严格的拉丁美洲戏剧背景之外谈论阿根廷戏剧，这也是我生活和热爱的世界。

这是我第一次在《戏剧杂志》上发表文章。随后，2014年，我又发表了一篇文章。里克·诺尔斯 (Ric Knowles) 是当时的编辑，那篇文章是关于二十一世纪初[End Page E-81]的最新社会经济危机期间的阿根廷戏剧。我的学生总是很惊讶：“你和其他人一样提交的吗？” 我说：“嗯，是的，你必须说到做到。” 我还应当时的表演评论编辑丹尼尔·萨克的邀请，发表了一篇关于当代布宜诺斯艾利斯剧院场景的表演评论文章。那很有趣。我想那是 2016 年。我的专着也被《戏剧杂志》评论过。我目前是编辑委员会成员，并继续担任同行评审员。所以我是一个忠实的粉丝，编辑《戏剧杂志》仍然是我整个学术生涯的亮点之一。之所以发生这种情况，是因为在第一篇文章发表后，《戏剧杂志》的前编辑 Janelle Reinelt 给我发了一封电子邮件，说：“吉恩，我认为你应该申请成为《戏剧杂志》的联合编辑。” 我说：“哇，谢谢你。好主意啊。总有一天我会这么做的。” 珍妮尔说：“不，趁你还有力气，现在就做。” 所以我要感谢珍妮尔的这种联系。

我喜欢编辑经历的其他事情，除了与同事进行这些精彩的对话之外，还有阅读大量的作品；你确实感觉自己掌握了当前学术的脉搏，能够做到这一点确实令人振奋。我还认为撰写社论评论需要一种不同的写作方式：你直接与读者交谈并代表期刊写作。撰写这些社论评论是一次非凡且不寻常的练习。每年有两期一般期刊和两期特刊，我和编辑们一样花了很长时间思考我的特刊的焦点是什么。其中两个，第一个和最后一个，直接来自我自己的作品；我以拉丁美洲剧院特刊开始，因为那是我的名片，也是采取地区立场的机会，最后我以戏剧翻译问题结束，这也是我工作和生活的空间。

我编辑的另外两期特刊不一定是我在研究方面投入的主题，尽管我后来变得如此，所以我编辑了一本关于听觉戏剧的特刊，然后又编辑了另一期关于通过戏剧理论化全球化的特刊。听证会的问题源于一次谈话......