Kimani Fowlin and Megan J. Minturn
Edited by Ann Elizabeth Armstrong and Joan Lipkin
The full issue can be viewed on Project MUSE: http://muse.jhu.edu/issue/38229
Click on the links below to access the materials.
NOTES FROM THE FIELD
Michelle Liu Carriger and Eero Laine
Rachel Bowditch, Daniel Bird Tobin, Chelsea Pace, and Marc Devine
By Kristi Good
By Anne Healy
Translated by Barzsi Szonja
For the full print edition of Theatre Topics 27.2, please click here to go to Project MUSE
Online only Notes from the Field:
In “How to Win Intro to Theatre” Stephen A. Schrum shares his experiments with motivating student learning by making his theatre course into a game. He contends that educators can capitalize on millennials’ familiarity with video games, in which they reach various levels of achievement, to help learners feel a greater sense of engagement and satisfaction with their coursework.
Ed Menta approaches student engagement in a more personal way in “I Finally Saw the Greek Theatres: Impressions on Teaching Undergraduate Theatre History.” In this Note, Menta shares his deeper connection to Greek Theatre after visiting the historic physical sites.
Read the full print issue on Project MUSE here.
Decolonizing Wikipedia through Advocacy and Activism: The Latina/o Theatre Wikiturgy Project
The Latinx Theatre Commons: A Commons-based Approach Movement
Latinx Theatre Commons Seattle Convening: Latinx Theatre in Unexpected Places
Maria Enriquez and Christopher Goodson
Essay (Online Only)
Hyperlinks as the Pulse of the Past: Using and Teaching a Digital Theatre Archive
By Ciara Conway
Introduction: Teaching Students to Wake the Dead
I often speak to students about awakening the dead spectres of theatre history. This idea derives from, but also engenders my own passion for research in theatre archives. Should we call ghosts to life? What good can come of theatre students learning to awaken the dead? And can the digital natives of today materialize phantoms in new ways? This essay aims to answer these questions by examining changing research practices in light of the challenges presented by digital archives of theatre and performance material. In the digital age, it may be that archival-based courses drawing on digital tools provide an exemplary space to allow students to engage with theatre history. Yet, the simplicity of hyperlinks, their ability to provide direct and rapid access to information, conceals the intricate work required to forge these connections.
Notes from the Field (Online Only)
Introduction: Devising in Chicago—Interviews with the Artists
By Heidi Coleman
While attempting to write a love letter in middle school I discovered the limits of language, or at least of nouns, love being at the top of the list of the deeply problematic and highly reductive. All the feelings, the energetic messiness, the profoundness of my unique angst could not be scooped into letters. Perhaps my frustration with language led me to the continual staging of the ephemeral, the immersive experience of engagement. While devised work extends beyond a four-letter word, I resent the reductive limits only slightly less than my fifth-grade self; and yet, for a process to extend beyond the temporal, we are left to our clumsy linguistics. Chicago currently delights me in Wittgenstein’s language game of pointing to the thing in the attempt to create shared definition, as numerous performance companies actively wrestle with the process of making work.
Moment Work: An Interview with Tectonic Theater Project
By Lisa S. Brenner, Moisés Kaufman, and Barbara Pitts
Tectonic Theater Project teaches a devising method its calls “Moment Work.” Theatre Topics coeditor Lisa S....
Notes from the Field (Online Only)
The Courage to Teach and the Courage to Lead: Considerations for Theatre and Dance in Higher Education
By Ray Miller
For many of us, there is a sense that as we move from one day to the next we are not so much accomplishing something as surviving something. Digital media of all kinds and the ready accessibility of the internet, smart phones, virtual clouds, and other digital technologies have pushed the future into the present. The future is often experienced as a plethora of possibilities that coexist all at the same time. We do not have the time to think forward. It is too much already to negotiate the present from one moment to the next. Douglas Rushkoff calls this “present shock” and claims that “[i]f the end of the twentieth can be characterized by futurism, the twenty-first century can be defined by presentism” (3).1 In this new world, jumping from one web link to the next is not viewed as disruptive and superficial, but as a way to surf the possibilities and to make unexpected discoveries.2 David Shields captures the feel of the worldview...