Archives
Volume 74, Issue 4, December 2022
- "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
Volume 74, Issue 3, September 2022
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The Space of an Encounter: An Interview with Sharon Hayes by Gwyneth Shanks
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Notes on the African Burial Ground National Monument, New York City by Erich Kessel
Announcements:
Volume 74, Issue 2, June 2022
Volume 73, Issue 4, December 2021 - Shooting
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
Volume 73, Issue 3, September 2021 - AI
Online Articles for the AI issue:
"Performing Left and Right" by Ioana B. Juncan, Roopa Vasudevan, Anthony Glyn Burton, Tong Wu, and Yuguang Zhang
"Discovering New Stories in What AI Doesn't Know: An Interview with Audiovisual Performance Artist Debashis Sinha" by Shanti Pillai
" 'I'm like a wise little person': Notes on the Metal Performance of Woebot the Mental Health Chatbot" by Evelyn Wan
Volume 73, Issue 2, June 2021
Resisting Theatre
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...
Volume 73, Number 1, March 2021
Online Article:
'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
Volume 72, Number 4, December 2020
Online content:
"Envisioning South Asian Theatre in New Zealand: An Interview with Amit Ohdedar and Jacob Rajan," by Kimberly Jew
"South Africa and the Future of Post-Apartheid Theatre: An Interview with Mark Dornford-May, Artistic Director of Isango Ensemble," by Carla Neuss
Volume 72, Number 3, September 2020
Online Content:
"On the Art of Alchemy and Unfolding Desires: A Conversation with María Magdalena Campos-Pons," by Sarah Lewis-Cappellari
"'I Teach the Audience How to Watch My Shows': An Interview with Kristina Wong," by Sean Metzger
"'We’re in for a future of provocateurs': An Interview with David Yee on Asian Canadian Theatre," by Sean Metzger
Volume 72, Number 2, June 2020
Online Content:
Witnessing Oka Apesvchi / Protecting the Water, by Bethany Hughes
Performance, Climate, and Critical Art, by VK Preston
Volume 72, Number 1, March 2020
"Performing Post-Truth: An Interview with Director Ashlie Corcoran" by Matt Jones
Volume 71, Number 4, December 2019
Online Content:
Stephen Scott-Bottoms, "Holding Back the River"
Ella Parry-Davies, "We Put the Tape Recorder on and Thought about the Sea: A Studio Visit with Karine Wehbé"
Volume 71, Issue 3, September 2019
"The Ethics of Interspecies Performance: Empathy beyond Analogy in Fevered Sleep's Sheep Pig Goat"
Laura Cull Ó Maoilearca
Tracy C. Davis
"The Legend of the White Snake across Mediums"
Tarryn Li-Min Chun
Volume 71, Issue 2, June 2019
Online Article
Judith Hamera, 'Gus Giordano, The Rehearsal, and the Critical Utility of Forgotten Dance Triumphs'
Volume 71, Issue 1 (March 2019)
Online-only article:
Kimberly Jannarone, "Mass Gymnastics: A Playlist"
Volume 70, Issue 4 (December 2018)
Special Issue on Post-Fact Performance
Online articles:
Naila Ansari, "The Absence of the Other Flesh: The Dismissal of Black Lives on the US National Football League Field"
Taylor Black, "Model Talk: Transparency, Percent Prediction, and the 2018 FiveThirtyEight Election Forecast"
Meredith Conti, "The Sound of Silence: A Viewer’s Guide to Emma González’s March for Our Lives Speech"
Volume 70, Issue 3 (September 2018)
Special Issue on Directions
Online articles:
Margherita Laera, "Editorial Comment"
Bess Rowen, "'Undigested Reading' and The New York Neo-Futurists"
Broderick D. V. Chow, "Feeling in Counterpoint: A Playlist"
Elin Diamond, "Reactivating the City: A Situationist-Inspired Map of New York"
Theatre Journal Volume 69 Number 4 (December 2017)
Click on the links below to see the additional material available for Theatre Journal Volume 69 Number 4.
Volume 69, Issue 3 (September 2017)
Photo Supplement for "Wayang in Museums: The Reverse Repatriation of Javanese Puppets" by Matthew Isaac Cohen
Volume 69, Number 1, March 2017
Video clips from Reza Abdoh: Theater Visionary, a documentary film by Adam Soch
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.
Appendices for "Mostly Young Women with Quite Traditional Tastes"
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.
Performance Review Photographs
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
Volume 68, Number 4, December 2016
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,"...
