ABSTRACT Samuel Beckett’s stage play That Time offers an aesthetic exploration of the paradoxical and deconstructive nature of identity and selfhood where the ability of narrative acts to express and capture a preexistent, originary identity is put into question. That Time implies that there is no such core identity and that any identity is constituted by performing and narrating one’s selfhood, thus

(2020). Old, new, review. NJ: Vol. 44, No. 1, pp. 1-3.

ABSTRACT This article develops an analysis of flamenco performance and religious processions in Andalusia by deploying and extending Jean-Luc Nancy’s concept of drawing, using the results of extensive ethnographic field research completed by the author among the Roma community in southern Spain. The article demonstrates how the Gitano body becomes a corpus of drawing, in Nancy’s sense, through a performance

Night is falling in the city. Holiday shoppers bustle down the sidewalk, some pausing to gaze at a colorful billboard publicizing the delights of an upcoming exposition. A few crafty rats scamper along a tall wooden fence, stalked by a sinister ratcatcher of the Dickensian mold. Children frolic, fight, and tease one another in front of the fence, the familiar syncopated strains of Tchaikovsky's Nutcracker

In 1806, Longman & Co. publishers commissioned the accomplished actress, playwright, and novelist Elizabeth Inchbald to compose a series of prefatory remarks for the plays to be included in their British Theatre series. One hundred and twenty-five in all, each of the plays for Longman's British Theatre was originally published and sold separately at a rate of about one per week. Once the series was

On the Fourth of July, 1860, the New York Times introduced readers to a new persona treading the minstrel boards: Matinées are the order of the day, two at both the Bowerys, at George Christy's, at Bryant's, and at the Palace Gardens. Here “versatile performers” and “talented danseuses” will diversify the hours of patriotic emotion with comic pantomime and grand “Japanese ballets,” led by “Little Tommy

Noted British actress Fanny Kemble lived eighty-four years on and off the theatrical and political stages of the nineteenth century. Kemble was an active writer who authored her first five-act play, Francis the First, at the age of eighteen. She would go on to write at least ten other published works, including a second full-length play, multiple journals recording her personal observations, notes

(2021). Editorial. Stanislavski Studies: Vol. 9, No. 1, pp. 1-1.

ABSTRACT This paper undertakes a study of the Indian “So Sorry” political cartoon (politoon) series, drawing on the work of Russian acting theorist Konstantin Stanislavski. The paper aims to illuminate the cartoons through the prism of Stanislavski’s work. The contribution of this paper will be the application of some of Stanislavski’s key principles to the cartoon series. Thus the paper will provide

ABSTRACT Stanislavski’s attitude to the cinematic art in general and acting in particular changed throughout his life. On the one hand, Stanislavski’s initial negative position on filming actors from the MAT for the first silent films is well-known, but on the other, numerous colleagues who worked at the interface of theatre and cinema confirmed Stanislavski’s attention to the actor’s play within the

Abstract: In the 1940s, organizers in the struggle for Black freedom, eager to distinguish themselves from the pacifist movement, began to introduce “experiments” in desegregation into their activities. Inspired by Gandhi and his interpreters, these actionists (as they called themselves) discovered and implemented the principles and practices of direct action that would later be used on a broad scale

Abstract: Two recent performances, Demian DinéYazhí’s An Infected Sunset (2018) and Karen Finley’s Written in Sand (1992–ongoing), address issues related to HIV/AIDS from the perspective of an ongoing pandemic that is interconnected with other forms of structural negligence and personal mourning. Whereas a growing number of early AIDS crisis revivals and restagings have mythologized the climate of

Abstract: Czechs have animated the inanimate onstage through puppets, objects, and robots (R.U.R.) for centuries. More recently, a generation of theatre-makers has reversed that traditional imaginary, exploring possibilities within human-becoming-object that engage Peter Schumann’s assertion that “[o]bject exists only because we are deceived into being subject.” Through digital and material means,

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Hamilton: An American Musical by Lin Manuel-Miranda Patricia Herrera HAMILTON: AN AMERICAN MUSICAL. Book, music, and lyrics by Lin Manuel-Miranda. Directed by Thomas Kail. Richard Rodgers Theatre, New York City. Disney Plus, streaming, July 4, 2020. Since its off-Broadway debut at the New York Public Theater in early 2015

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Good Standing by Matthew Greene Catherine Heiner GOOD STANDING. By Matthew Greene. Directed by Sam Allen. Next Step Theatre Company, Great Salt Lake Fringe Festival, Salt Lake City. August 9, 2020. Is God the only one who can show love? Depending on the individual or the organization asked, this question inspires a multitude

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Les Blancs by Lorraine Hansberry Dana A. Williams LES BLANCS. By Lorraine Hansberry. Directed by Yael Farber. National Theatre at Home, London. July 8, 2020. For every revival of a canonical play, an original script goes unproduced, and the urgent need to see meaningful dramatizations of the contemporary moment and its challenges

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Circle Jerk by Michael Breslin and Patrick Foley Trevor Boffone CIRCLE JERK. By Michael Breslin and Patrick Foley. Co-directed by Rory Pelsue and dramaturg Ariel Sibert. Produced by Jeremy O. Harris. Fake Friends, Theater Mitu, Brooklyn, New York. October 21, 2020. If pandemic theatre has had three stages, then Michael Breslin

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: The Amen Corner by James Baldwin Isaiah Matthew Wooden THE AMEN CORNER. By James Baldwin. Directed by Whitney White. Shakespeare Theatre Company, Washington, D.C. February 28, 2020. Often heralded as one of the most formidable and influential American novelists, essayists, and public intellectuals of the twentieth century

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Godspell by John-Michael Tebelak Dan Venning GODSPELL. Conceived and originally directed by John-Michael Tebelak. Music and new lyrics by Stephen Schwartz. Directed by Alan Filderman. Berkshire Theatre Group, Outside Under a Tent at the Colonial Theatre, Pittsfield, Massachusetts. August 15, 2020. The Berkshire Theatre Group’s

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Make Me Stop Smoking by Rabih Mroué Matthew Randle-Bent MAKE ME STOP SMOKING. By Rabih Mroué. Künstlerhaus Mousonturm, online performance. May 23, 2020. Lola Arias’s “My Documents,” which started in Buenos Aires in 2012, is a program through which artists produce live performances based upon their personal archives: idiosyncratic

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Reinar después de morir by Luis Vélez de Guevara Esther Fernández REINAR DESPUÉS DE MORIR. By Luis Vélez de Guevara. Directed by Ignacio García and Pepa Pedroche. Compañía Nacional de Teatro Clásico/Companhia Teatro de Almada, Teatro de la Comedia, Madrid. January 10, 2020. Reference to a corpse queen triggers a call-back

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: One Room: A World Revealed by Andy Bragen et al. Jeanmarie Higgins ONE ROOM: A WORLD REVEALED. By Andy Bragen et al. Directed by Knud Adams et al. Weston Playhouse Theatre Company, Weston, Vermont. Streamed August 7, 2020. In Look at the Walls by Charly Evon Simpson, the tenth of fourteen short, one-person plays that comprise

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: The Inheritance by Matthew Lopez Eric Jorgensen THE INHERITANCE. By Matthew Lopez. Directed by Stephen Daldry. Ethel Barrymore Theatre, New York City. January 8, 2020. One may as well begin with waiting in line to enter the theatre. Volunteers for the Buttigieg campaign seeking signatures of New York voters to ensure Mayor

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Eraser Mountain by Toshiki Okada Sarah Lucie ERASER MOUNTAIN. Written and directed by Toshiki Okada. Scenography by Teppei Kaneuji. Skirball Center for the Performing Arts, in association with chelfitsch, New York City. February 28, 2020. Eraser Mountain does not make for a fun or pleasurable night at the theatre, nor does

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: The Under Presents by Samantha Gorman and Danny Cannizzaro Devon Baur THE UNDER PRESENTS. Directed by Samantha Gorman and Danny Cannizzaro. Tender Claws/Piehole, virtual reality. Reviewer viewed various performances, February–July 2020. During the COVID-19 quarantine, audiences were looking for ways to gather and The Under

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Show Me a Good Time by Sean Patten et al. Daniel Larlham SHOW ME A GOOD TIME. Devised and performed by Sean Patten et al. A Gob Squad production, presented by the Hebbel am Ufer Theatre and the La Jolla Playhouse, livestreamed from Berlin. June 20, 2020. “Everybody needs a good time. That’s what all the songs tell us. Nobody

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Visual Experiences in Cinquecento Theatrical Spaces by Javier Berzal de Dios Robert Henke VISUAL EXPERIENCES IN CINQUECENTO THEATRICAL SPACES. By Javier Berzal de Dios. Toronto: University of Toronto Press, 2019; pp. 216. Javier Berzal de Dios’s excellent Visual Experiences in Cinquecento Theatrical Spaces persuasively rebuts

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Shakespeare and Queer Theory by Melissa E. Sanchez Daniel Juan Gil SHAKESPEARE AND QUEER THEORY. By Melissa E. Sanchez. Arden Shakespeare and Theory series. London: Bloomsbury Arden Shakespeare, 2019; pp. 228. This book is beautifully written and a pleasure to read. Although, like other books in the Arden Shakespeare and Theory

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: David Garrick and the Mediation of Celebrity by Leslie Ritchie Julia H. Fawcett DAVID GARRICK AND THE MEDIATION OF CELEBRITY. By Leslie Ritchie. Cambridge: Cambridge University Press, 2019; pp. 314. In the mid-1960s, the publication of The London Stage—a listing of every performance known to have been produced by a licensed

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Deborah and Her Sisters: How One Nineteenth-Century Melodrama and a Host of Celebrated Actresses Put Judaism on the World Stage by Jonathan M. Hess Meri-Jane Rochelson DEBORAH AND HER SISTERS: HOW ONE NINETEENTH-CENTURY MELODRAMA AND A HOST OF CELEBRATED ACTRESSES PUT JUDAISM ON THE WORLD STAGE. By Jonathan M. Hess. Jewish

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Spectral Characters: Genre and Materiality on The Modern Stage by Sarah Balkin Katherine Biers SPECTRAL CHARACTERS: GENRE AND MATERIALITY ON THE MODERN STAGE. By Sarah Balkin. Ann Arbor: University of Michigan Press, 2019; pp. 198. The word “character” can describe a person, a room, or an article of clothing. As Sarah Balkin

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Unlimited Action: The Performance of Extremity in the 1970s by Dominic Johnson Ivan Bujan UNLIMITED ACTION: THE PERFORMANCE OF EXTREMITY IN THE 1970s. By Dominic Johnson. Theatre: Theory–Practice–Performance series. Manchester: Manchester University Press, 2019; pp. 232. The bodies we inhabit are contested sites of inquiry

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: The Oxford Handbook of Musical Theatre Screen Adaptations ed. by Dominic McHugh Jeff Godsey THE OXFORD HANDBOOK OF MUSICAL THEATRE SCREEN ADAPTATIONS. Edited by Dominic McHugh. New York: Oxford University Press, 2019; pp. 674. Although the film version of Cats arrived too late for consideration in The Oxford Handbook of Musical

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Performing Architectures: Projects, Practices, Pedagogies ed. by Andrew Filmer and Juliet Rufford David Calder PERFORMING ARCHITECTURES: PROJECTS, PRACTICES, PEDAGOGIES. Edited by Andrew Filmer and Juliet Rufford. Methuen Drama Engage series. London: Bloomsbury Methuen Drama, 2018; pp. 256. Performing Architectures stages

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Shakespeare in the Theatre: Trevor Nunn by Russell Jackson Cary M. Mazer SHAKESPEARE IN THE THEATRE: TREVOR NUNN. By Russell Jackson. Shakespeare in the Theatre series. London: Bloomsbury Arden Shakespeare, 2018; pp. 264. In a series of concise and thoroughly documented chapters, Russell Jackson, in his book on Trevor Nunn’s

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: The Theatre and Films of Conor McPherson: Conspicuous Communities by Eamonn Jordan Susan Cannon Harris THE THEATRE AND FILMS OF CONOR McPHERSON: CONSPICUOUS COMMUNITIES. By Eamonn Jordan. Critical Companions series. London: Bloomsbury Methuen Drama, 2019; pp. 248. What exactly does one want from a “critical companion”? That

ABSTRACT This comparative essay analyses the dramatic representation of horses in two early twenty-first-century American plays by Sam Shepard and Sarah Ruhl. Both plays bring a horse figure onto the stage as a prop and couple it to human characters fashioned by the iconography of the American cowboy. While both plays rely heavily on the symbolic power of horses and trope the animal, thus failing to

The focus of this article is a critical evaluation of the impact of international development and conflict-resolution funding on theatre in the Occupied Palestinian Territories. The article complicates the predominant narrative of theatre as ‘cultural resistance’ in conflict zones by historicizing the Ford Foundation's role in the institutionalization of Palestinian drama; delineating the effects of

International aid has influenced and, in part, shaped the artistic sector in Africa's Great Lakes region (DRC, Rwanda, Burundi) since the 1990s, a period marked by numerous conflicts and mass violence. Due to NGOs’ programmatic foci, artists performing for social change are increasingly compelled to focus on reconciliation and conflict resolution, generating political awareness and bringing about social

This article provides a contextual analysis of Janakaraliya (‘Theatre of the People’), a theatre company acclaimed for its excellence in theatre for social justice and peace building in Sri Lanka. It discusses the governing conditions that enable its practice and evaluates its impact, whether this be the biopower of the state and non-state actors during periods of political violence, donor funding

From 1980 to 1981, the Baxter Theatre of Cape Town, South Africa, produced a multi-racial Waiting for Godot that garnered vastly different reactions in the various cities to which it toured. With a cast led by John Kani and Winston Ntshona, icons of anti-apartheid theatre, it was sometimes hailed as a scathing anti-apartheid polemic, sometimes admired for its ‘universality’, and in one case denounced

How can indigeneity be understood through training actors in a colonial context? Do ‘Western’ acting schools misrepresent and exploit indigenous practices and cultural traditions towards reinforcing the settler state? Or does a given school's integration of such praxis and customs demonstrate inclusivity, equity and progressivism? At what point does incorporating indigeneity in actor training become

ABSTRACT Drama is becoming increasingly valued in the context of additional language learning. Representing knowledge in multiple modes has been shown to support diverse students. The use of drama can enhance meaning and comprehension for language learners as it enlists the voice and body as additional semiotic tools. Sociocultural theory provides a framework for understanding this dynamic, as does

In lieu of an abstract, here is a brief excerpt of the content: Editorial Comment:The Global South? E.J. Westlake Originally, I had envisioned that this issue would take up the concept of the Global South, to showcase a sample of current scholarship centered on theatre and performance in the Global South, but also to interrogate the term and its widespread use. I was thrilled to have a few very fine

Abstract: This essay delves into the materialities of infection through an exploration of two dance/theatre works created by Congolese theatre artist and choreographer Faustin Linyekula and his company Studios Kabako: Dinozord: The Dialogue Series IIII (2006) and In Search of Dinozord (2012). The Dinozord series serves as a multifaceted homage to Linyekula's childhood friend and fellow artist Richard

Abstract: This essay explores the history of a form of theatrical performance in Senegal used to transmit the founding story of the Senegalese Sufi order known as the Muridiyya. Although absent from the extensive scholarship on Murid cultural and expressive forms, this innovative performance practice proves remarkable in its staged manifestation of the baraka, or spiritual essence, of the order's founding

Abstract: This essay traces how the transoceanic traffics of early blackface minstrelsy forged entanglements among the early blackface figure "Jim Crow," the US American racial formation of "Jim Crow," and the Anglophone imperial formations of the Global South. Although blackface minstrel scholarship has taken the form to be axiomatically US American and national in origin, the essay maps the popularity

Abstract: This essay uses the concept of g/locality to refine the overbroad application of the Global South to explore links between performance in Chicago, whose racial segregation prompted anti-apartheid South African exiles in the 1980s to call the city "Johannesburg by the Lake," and Johannesburg, whose combination of innovation and lawlessness has inspired writers from the 1950s to the present

In lieu of an abstract, here is a brief excerpt of the content: Festivalizing Down Under:Unsettling the Contact Zone Ric Knowles (bio) Australia and Aotearoa/New Zealand are key contact zones between the Global North and South. Geographically located in the Southern Hemisphere, their dominant, settler populations are culturally of the North, and their major theatre festivals have been struggling with

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: It's True, It's True, It's True: Artemisia on Trialby Breach Theatre Ellen Mackay IT'S TRUE, IT'S TRUE, IT'S TRUE: ARTEMISIA ON TRIAL. By Breach Theatre(Billy Barret, Dorothy Allen-Pickard, Ellice Stevens). Directed by Billy Barrett. Streaming version commissioned by The Space and staged by Billy Barrett and Rhodri Huw. Accessed

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Eating Shakespeare: Cultural Anthropophagy as Global Methodology ed. by Anne Sophie Refskou, Marcel Alvaro de Amorim, and Vinicius Mariano de Carvalho Lisa Ulevich EATING SHAKESPEARE: CULTURAL ANTHROPOPHAGY AS GLOBAL METHODOLOGY. Edited by Anne Sophie Refskou, Marcel Alvaro de Amorim, and Vinicius Mariano de Carvalho. Global

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Theatres of Contagion: Transmitting Early Modern to Contemporary Performance ed. by Fintan Walsh Regina Buccola THEATRES OF CONTAGION: TRANSMITTING EARLY MODERN TO CONTEMPORARY PERFORMANCE. Edited by Fintan Walsh. Methuen Drama Engage series. London: Bloomsbury Methuen Drama, 2019; pp. 232. Even had COVID-19 not rendered the

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Acting Egyptian: Theatre, Identity, and Political Culture in Cairo, 1869–1930 by Carmen M. K. Gitre Faisal Adel Hamadah ACTING EGYPTIAN: THEATRE, IDENTITY, AND POLITICAL CULTURE IN CAIRO, 1869–1930. By Carmen M. K. Gitre. Austin: University of Texas Press, 2019; pp. 192. To write about Arabic theatre and performance, whether

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: South Africa's Shakespeare and the Drama of Language and Identity By Adele Seeff Gibson Alessandro Cima SOUTH AFRICA'S SHAKESPEARE AND THE DRAMA OF LANGUAGE AND IDENTITY. By Adele Seeff. Global Shakespeares series. Cham, Switzerland: Springer International Publishing, 2018; pp. 242. "Can Shakespeare be dis-invented and re-invented

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Choreographies of the Living: Bio-Aesthetics in Literature, Art, and Performance by Carrie Rohman Kari Weil CHOREOGRAPHIES OF THE LIVING: BIO-AESTHETICS IN LITERATURE, ART, AND PERFORMANCE. By Carrie Rohman. New York: Oxford University Press, 2018; pp. 198. Is it because dance is considered the most "animal" art form that

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Building Character: The Art and Science of Casting by Amy Cook Jim Williams BUILDING CHARACTER: THE ART AND SCIENCE OF CASTING. By Amy Cook. Ann Arbor: University of Michigan Press, 2018; pp. 198. In theatre, the ultimate dilemma for any director at the beginning of the creative process is the casting. How is it possible to

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Theatre and Cartographies of Power: Repositioning the Latina/O Americas ed. by Jimmy A. Noriega and Analola Santana Eric Mayer-García THEATRE AND CARTOGRAPHIES OF POWER: REPOSITIONING THE LATINA/O AMERICAS. Edited by Jimmy A. Noriega and Analola Santana. Theater in the Americas series. Carbondale: Southern Illinois University

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Performing Utopia ed. by Rachel Bowditch and Pegge Vissicaro Kareem Khubchandani PERFORMING UTOPIA. Edited by Rachel Bowditch and Pegge Vissicaro. Enactments series. Chicago: Seagull Books, 2018; pp. 288. In the edited volume Performing Utopia, readers are offered utopia and its corollaries, dystopia and heterotopia, as optics

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Performing Statelessness In Europe by S.E. Wilmer Susan Tenneriello PERFORMING STATELESSNESS IN EUROPE. By S.E. Wilmer. Cham, Switzerland: Springer International Publishing, 2018; pp. 246. Performing Statelessness in Europe is a timely addition to the study of how performance intervenes into the politics of migration, the

In lieu of an abstract, here is a brief excerpt of the content: Reviewed by: Showing Off, Showing Up: Studies of Hype, Heightened Performance, and Cultural Power ed. by Laurie Frederik, Kim Marra, and Catherine Schuler Tom Robson SHOWING OFF, SHOWING UP: STUDIES OF HYPE, HEIGHTENED PERFORMANCE, AND CULTURAL POWER. Edited by Laurie Frederik, Kim Marra, and Catherine Schuler. Ann Arbor: University of