scholarly journals Book Review: Theatre and Performance in the Neoliberal University edited by Kim Solga

2021 ◽  
Vol 4 (1) ◽  
Author(s):  
Keenan Shionalyn
Keyword(s):  
Case Studies ◽  
Performance Studies ◽  
Effective Strategies ◽  
And Performance ◽  
The University ◽  
University Setting ◽  
Community Relationships

Theatre and Performance in the Neoliberal University: Responses to an Academy in Crisis practically examines the utilization of performance methodology within the university setting. This edited collection combines diverse expertise to demonstrate effective strategies for navigating our art, scholarship, and teaching while working at a neoliberal university. Intending to operate alongside, rather than within, Kim Solga presents research and case studies utilizing performance as both a methodology for research and a tool to improve pedagogy and community relationships. Providing hope to scholar-artists working in theatre and performance studies, Solga’s work inspires creativity and provides a form of collaboration to strengthen our field and ensure its continuance.  

Text and Stage: Shakespeare, Bibliography, and Performance Studies

1993 ◽  
Vol 9 (34) ◽  
pp. 179-191 ◽  
Author(s):  
Graham Holderness ◽  
Bryan Loughrey
Keyword(s):  
Performance Studies ◽  
Traditional Practices ◽  
Textual Studies ◽  
Stage Directions ◽  
Theatrical Practice ◽  
And Performance ◽  
Harvester Wheatsheaf ◽  
The University ◽  
Comparative Examination ◽  
Research Director

This article continues the debate initiated by Brian Parker, who in NTQ24 (1990) offered a critique of the new Oxford Shakespeare, and one of its editors, Stanley Wells, who responded in NTQ 26 (1991) with a defence of his departure from traditional practices of textual conflation. Here, Graham Holderness and Bryan Loughrey suggest that, on a closer examination, there is evidence that editorial intervention and conflation have been regularly employed in the Oxford edition: and in arguing against all such attempts to reconstruct ‘authoritative’ texts, they propose that, in their inevitable absence, the originals present the closest we are likely to approach to recreating the collaborative theatrical practice of Shakespeare's time. In illustrating the effects of editorial intervention from a close comparative examination of particular passages, they suggest, for example, that the stage directions make a shovel a likelier object of Hamlet's graveside contemplation than Yorick's skull. Graham Holderness, newly-appointed Professor and Dean of Humanities at the University of Hertfordshire, and Bryan Loughrey, Research Director at Roehampton Institute, have recently begun, through the Centre for Textual Studies, a programme of publishing accessible reprints of the important early editions, of which the first three have now appeared from Harvester Wheatsheaf.

Making Knowledge/Playing Culture

2020 ◽  
Vol 40 (1-2) ◽  
pp. 83-101
Author(s):  
Antje Budde ◽  
Sebastian Samur
Keyword(s):  
Experiential Learning ◽  
Undergraduate Students ◽  
Performance Studies ◽  
Performing Arts ◽  
Undergraduate Research ◽  
Theoretical Background ◽  
Comparative Approach ◽  
University Of Toronto ◽  
And Performance ◽  
The University

(A project of the Digital Dramaturgy Lab at the Centre for Drama, Theatre and Performance Studies, University of Toronto) This article discusses the 2017 festival-based undergraduate course, “Theatre Criticism and Festival Dramaturgy in the Digital Age in the Context of Globalization—A Cultural-Comparative Approach” as a platform for experiential learning. The course, hosted by the University of Toronto’s Centre for Drama, Theatre and Performance Studies, and based on principles of our Digital Dramaturgy Lab, invited a small group of undergraduate students to critically investigate two festivals—the Toronto Fringe Festival and the Festival d’Avignon—in order to engage as festival observers in criticism and analysis of both individual performances and festival programming/event dramaturgy. We argue that site-specific modes of experiential learning employed in such a project can contribute in meaningful ways to, and expand, current discourses on festivalising/festivalization and eventification through undergraduate research. We focus on three modes of experiential learning: nomadic learning (learning on the move, digital mobility), embodied knowledge (learning through participation, experience, and feeling), and critical making (learning through a combination of critical thinking and physical making). The article begins with a brief practical and theoretical background to the course. It then examines historical conceptions of experiential learning in the performing arts, including theoriesadvanced by Burnet Hobgood, David Kolb and Ronald Fry, and Nancy Kindelan. The importance of the festival site is then discussed, followed by an examination of how the festivals supported thethree modes of experiential learning. Samples of student works are used to support this analysis.

From The Book Review Editor

2005 ◽  
Vol 46 (2) ◽  
pp. 305-305
Author(s):  
Edward Ziter
Keyword(s):  
Performance Studies ◽  
Limited Resources ◽  
Academic Publishing ◽  
Diverse Range ◽  
Relative Term ◽  
Review Editor ◽  
Theatre Studies ◽  
Publishing Houses ◽  
And Performance

Well-written reviews counteract the inertia that can afflict any field, given the pressures on the professorate and the limited resources of academic publishing houses. Between the demands of teaching, publication, production, and university service many theatre professors struggle to keep up with the literature related to their own research interests, let alone read broadly in the field. In such a context, no book—not even an excellent book—is assured an audience. Books that are not easily categorized, that do not fit comfortably in a given discipline, or that address underresearched topics are even less likely to reach a broad audience (and “broad” in terms of academic publishing is clearly a relative term). Reviews create audiences for books that might otherwise sit unnoticed in the margins of a field. Every review implicitly charts important directions for the field; reviews identify central conversations in the academy and indicate how theatre studies can engage these conversations. Reviews help us to be eclectic readers, and we must be such readers if we hope to speak beyond the circle that shares our individual research interests. It is in the spirit of eclecticism that Theatre Survey has instituted the column “What Are You Reading?” asking innovative scholars to share and reflect on the texts that feed their thinking. It is in the same spirit that Theatre Survey reviews a broad spectrum of the books received and invites both junior and senior scholars to propose reviews of books that the journal has not received but that should come to the attention of scholars of theatre and performance studies. Reviews help shape the field. Theatre Survey looks for reviews that cultivate new performance-centered historiographic study, reflecting a diverse range of methodological and critical perspectives.

Two Masterpieces of Kūṭiyāṭṭam

2019 ◽  
Keyword(s):  
Performance Studies ◽  
Empty Space ◽  
Ritual Studies ◽  
Indian Culture ◽  
Art Form ◽  
South Indian ◽  
Hebrew University ◽  
And Performance ◽  
The University

Kūṭiyāṭṭam, India’s only living traditional Sanskrit theatre, has been continually performed in Kerala for at least a thousand years. The actors and drummers create an entire world in the empty space of the stage by using spectacular costumes and make-up and by an immensely rich interplay of words, rhythms, mime, and gestures. This volume focuses on Mantrāṅkam and Aṅgulīyāṅkam, the two great masterpieces of Kūṭiyāṭṭam. It provides fundamental general remarks and relates them to pan-Indian reflections on aesthetics, philology, ritual studies, and history. Authored by scholars and active Kūṭiyāṭṭam performers, this is the first attempt to bring together a set of sustained, multi-faceted interpretations of these masterpieces-in-performance. With an aim to open up this ancient art form to readers interested in South Indian culture, religion, theatre and performance studies, philology, as well as literature, this volume offers a new way to access a major art form of pre-modern and modern Kerala. The University of Tuebingen in Germany and the Hebrew University of Jerusalem in Israel were partners in a long-term project studying and documenting Kūṭiyāṭṭam performances, including initiating full-scale performances of major works in the classical repertoire. We have been, in particular, focusing on the study of the two major, complex and ancient works, Mantrāṅkam and Aṅgulīyāṅkam, both of which we have seen and recorded in full. The articles in this volume are one of the results. They are supplemented with video-clips of lecture demonstrations provided online.

The Video Documentation of Theatrical Performance

1994 ◽  
Vol 10 (38) ◽  
pp. 183-194 ◽  
Author(s):  
Gay McAuley
Keyword(s):  
Performance Studies ◽  
Video Technology ◽  
Previous Generation ◽  
Theatrical Performance ◽  
Video Documentation ◽  
Video Archives ◽  
And Performance ◽  
The University

Video technology has been widely available for the last twenty years, and offers possibilities for the documentation of theatrical performance that no previous generation has possessed. What are we doing with these possibilities? Why is it that we are only now taking some timid first steps towards the establishment of national or regional video archives? This article reports some findings from ten years of experimentation with recording formats and analysis, and urges the need for action by theatre practitioners, funding authorities, and university researchers to ensure that the theatrical output of another generation is not lost. The author, Gay McAuley, teaches in French and Performance Studies and is Director of the Interdisciplinary Centre for Performance Studies at the University of Sydney. Her research in recent years has focused on the semiotics of performance and, in particular, the ways actors use text in the construction of performance. She is currently writing a book called Space in Performance.

‘Gratuitous Assistance’? The West End Theatre Industry, Late Victorian Charity, and Patterns of Theatrical Fundraising

2014 ◽  
Vol 30 (1) ◽  
pp. 17-28 ◽  
Author(s):  
Catherine Hindson
Keyword(s):  
Performance Studies ◽  
Economic Potential ◽  
The West ◽  
Senior Lecturer ◽  
High Profile ◽  
Key Factor ◽  
And Performance ◽  
End Stage ◽  
University Of Bristol ◽  
The University

London's theatre industry and charity culture have been closely connected since the mid-nineteenth century. In this article Catherine Hindson explores the nature of this relationship in the later years of the century. Focusing on a charity bazaar held at the Royal Albert Hall in June 1899 to raise funds for the Charing Cross Hospital, she argues that extra-theatrical occasions staged for charity organizations were firmly located within the stage culture of the day. Rather than peripheral occasions, high-profile, public charity events functioned as significant forces in the reputation and success of the West End theatre industry and its personnel. They held cultural, social, and economic potential for theatrical performers and represent a key factor in the improvement in the moral and social status of the stage in this period. Catherine Hindson is Senior Lecturer in Theatre and Performance Studies at the University of Bristol. She has published widely on popular performance between 1820 and 1930 and is currently completing a monograph on the actress, the West End stage, and charity between 1880 and 1930.

scholarly journals PERFORMING SCIENCE: SCIENCE COMMUNICATION AS PERFORMATIVE EVENT

2021 ◽  
Author(s):  
Alan Chong ◽  
Lydia Wilkinson
Keyword(s):  
Case Studies ◽  
Performance Studies ◽  
Science Communication ◽  
Engineering Students ◽  
Teaching Practice ◽  
Popular Media ◽  
Communicative Acts ◽  
University Of Toronto ◽  
The University

A course at the University of Toronto encourages engineering students to analyze how science isconveyed in the popular media through a variety of contexts. An analysis of the language and rhetoric of these communicative acts provides on entry point into how science is framed, while the discipline of performance studies, which identifies and analyzes the mechanisms with which we present our messages and ourselves, provides another useful tool through which to understand the motivations and associated strategies behind scientific communication. This teaching practice paper presents three case studies of scientific press conferences used in the course: NASA’s 2010 astrobiology event, the Higgs Boson announcement in 2012, and Virgin Galactic’s 2014 SpaceShipTwo crash. These three case studies illustrate how the act of communicating science within public spaces should be navigated with an awareness of the intended message and the way that this message is conveyed and perceived. Each case study includes a summary of observations on the event (generated and shared through class discussions), and prompts that will enable theeffective instruction of these and other case studies.

Interview with Milla Cozart Riggio, Angela Marino, and Paolo Vignolo

2022 ◽  
Vol 3 (1) ◽  
pp. 282
Author(s):  
Emily Ruth Allen
Keyword(s):  
Performance Studies ◽  
Trinity College ◽  
Associate Professor ◽  
University Of California ◽  
National University ◽  
And Performance ◽  
The University

Emily Ruth Allen interviews Milla Cozart Riggio, Angela Marino, and Paolo Vignolo on Festive Devils of the Americas (2015). Interview date: Feb 4, 2021 Milla Cozart Riggio is James J. Goodwin Professor of English Emerita at Trinity College. Angela Marino is Associate Professor in the Department of Theater, Dance, and Performance Studies at the University of California Berkeley. Paolo Vignolo is Associate Professor of History at the National University of Colombia, Bogota

The Ramayana Narrative Tradition as a Resource for Performance

2021 ◽  
pp. 3-28
Author(s):  
Paula Richman
Keyword(s):  
Everyday Life ◽  
Case Studies ◽  
21St Century ◽  
Performance Studies ◽  
Narrative Tradition ◽  
South Indian ◽  
And Performance

This chapter examines case studies of Ramayana performances from different Indian regions and their relationships to diverse Ramayana texts, and provides a map of the volume. “Orientations and Beginnings” sets out an overview of intersections between Ramayana Studies and Performance Studies. “The Politics of Caste” deals with a Hindi poem and play scripts about the beheading of Shambuk, a Shudra character in the Ramayana tradition, linking them to Dalit demands for equality in 20th- and 21st-century India. “Interrogating the Anti-Hero” examines performances centered on Ravana as anti-hero or as dissident artist. “Performing Gender” analyzes two South Indian performances: a modern Tamil play critiquing patriarchal constructions of the Ramayana, and Nangyarkuttu, a pre-modern solo dance form in Kerala, whose reconstruction is infused with a woman’s contemporary sensibility. “Conversations and Arguments” highlights debates about Ramayana productions in Kutiyattam, Sattriya, and Talamaddale. “Beyond Enactment” examines effects of Ramayana performances on everyday life and society.

Sign in / Sign up

Export Citation Format

Share Document