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Abstract: Often, especially of late, great changes seem to come upon us suddenly. We awake one day and the world is altered, for better or worse, demanding of us a new normal. But anyone who studies drama knows that long before any big reveal on stage, change is afoot just beneath the surface of every line and gesture. As astute observers, we look for the setup—a prophesy here, a conspicuous stage prop there—that will clue us in to what lies ahead, and we wait for the pay-off. Insofar as the history of the Comparative Drama Conference constitutes a dramatic narrative, 2023 put us squarely in the set-up, that anticipatory moment when the heretofore unnoticed mechanisms of change begin to make their work visible.This special ... Read More PubDate: 2024-03-09T00:00:00-05:00
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Abstract: The keynote address at the 2023 Comparative Drama Conference was a conversation with playwright Lucas Hnath. His plays, known for their striking intellectual-tennis match-style dialogue, include Death Tax (2012), A Public Reading of an Unproduced Screenplay About the Death of Walt Disney (2013), Red Speedo (2013), Isaac's Eye (2014), The Christians (2015), Hillary and Clinton (2016), Dana H. (2019), The Thin Place (2019), and, most famously, A Doll's House, Part 2 (2017), which received eight 2017 Tony Award nominations, including for Best Play. The recipient of awards that include a Guggenheim Fellowship, the Steinberg Playwright award, the Windham-Campbell Literary Prize, and the Obie Award for Playwriting for ... Read More PubDate: 2024-03-09T00:00:00-05:00
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Abstract: On August 5, 1962, the body of Marilyn Monroe, Arthur Miller's exwife, was found in the bedroom of her Brentwood home. Tangled bedsheets, bottles of pills, a rotary phone receiver by her hand—the room resembled the mise-en-scène of a murder mystery, and in death the cultural icon received just as much attention as in life.1 Newspapers across the world announced her death with front page headlines that were both equivocal and sensational: "Marilyn Dead" (Daily News), "Marilyn Phone Riddle" (Daily Express), "Marilyn Monroe Kills Self: Found Nude in Bed … Hand On Phone … Took 40 Pills" (New York Mirror).2Less than two weeks later, Los Angeles County Coroner Theodore Curphey, clad in a white lab coat, cigar in mouth ... Read More PubDate: 2024-03-09T00:00:00-05:00
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Abstract: Theatre is a fundamentally collaborative artform. Any successful live performance depends upon the participation of—and cooperation between—actors and spectators. On the Elizabethan stage, this axiom was most famously pronounced by the Chorus in William Shakespeare's Henry V. The Chorus begins the play by making an apology that doubles as an appeal for help. Because the company doesn't have a real "kingdom for a stage, princes to act,/And monarchs to behold the swelling scene," the Chorus begs spectators not only to forgive "The flat unraised spirits that hath dared/On this unworthy scaffold to bring forth/So great an object" as the triumph at Agincourt, but also to assist the performers by imaginatively bridging ... Read More PubDate: 2024-03-09T00:00:00-05:00
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Abstract: "Until we are willing to look at the ways in which white Americans are culpable in the suffering of the people of color, and understand that culpability needs to be present in the representation of that, suffering will continue.""Art has always been the tool of the powerful, and also the weapon of the dispossessed: official imagery controls narratives of identity and defines what is 'right', but these representations can be creatively subverted and destroyed. You have to know the rules of the space to sabotage it."Protest arose at the Whitney Museum's 2017 Biennial exhibit in response to Dana Schutz's painting Open Casket, a somewhat abstract rendering of the famous photograph of Emmett Till in his casket. Artist ... Read More PubDate: 2024-03-09T00:00:00-05:00
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Abstract: Argentinian playwright Griselda Gambaro's El Campo, written in 1967 and first performed in 1968, is a play that portrays institutionalized violence through ambiguity, double meanings, duplicity, lies, and lack of reference.1 Upon his arrival to what he presumes to be a new job as an accountant, the main character Martín will slowly realize that, instead, he is a prisoner in a concentration camp. What happens on stage and what the victims experience is never explicit, so both the protagonist and the audience are confronted with the visible, physical consequences of such violence combined with the psychological terror induced by lack of definition, vagueness, and ignorance. Oppression deprives the victims and the ... Read More PubDate: 2024-03-09T00:00:00-05:00
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Abstract: Sometimes what we don't see with our own eyes can hit harder than what we do, and for those who create theatre that challenges the potent imbedded systems of violence by which our society oppresses so many of its people, hitting hard is crucial. Contemporary theatremakers are often deeply interested in telling stories that thematize institutional or systemic violence. Many contemporary plays thematize the violent structures under which we live in an attempt to come to terms with them, while many older plays are re-imagined by directors and producers in ways that inject the theme of systemic violence where it might have been only latent in or even absent from the source text. In drama, it is hard to directly ... Read More PubDate: 2024-03-09T00:00:00-05:00
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Abstract: In spite of that old adage—"laughter is the best medicine"—it is hard to overcome the feeling that illness and humor are fundamentally incompatible. Indeed, this basic assumption is often used as the source of comedy itself: the incongruous intersection of laughter and suffering highlights the ways in which the former might somehow trump the latter by way of an ironic "deadening" or desensitization. In a literature review for the Southern Medical Journal in 2003, physician Howard J. Bennett finds little support in published studies for the idea that laughter meaningfully promotes health or healing, despite popular beliefs; the only direct medical benefits he substantiates concern pain management through a kind of ... Read More PubDate: 2024-03-09T00:00:00-05:00
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Abstract: In A Theory of Adaptation, Linda Hutcheon defines adaptation in three ways: "an acknowledged transposition of a recognizable other work or works; a creative and an interpretative act of appropriation/salvaging; [and] an extended intertextual engagement with the adapted work."1 Ryusuke Hamaguchi's 2021 film Drive My Car embraces all three of Hutcheon's definitions, often in surprising and compelling ways. Those familiar with the works of Haruki Murakami can not only trace the influences of the titular story, but two additional stories from the author's 2017 collection Men Without Women. However, it is arguable whether Hamaguchi explicitly "acknowledges" the "transposition" of Murakami's "Scheherazade" or "Kino" in ... Read More PubDate: 2024-03-09T00:00:00-05:00
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Abstract: Everywhere we remain unfree and chained to technology, whether we passionately affirm or deny it. But we are delivered over to it in the worst possible way when we regard it as something neutral; for this conception of it, to which today we particularly like to pay homage, makes us utterly blind to the essence of technology.In recent years, a number of American playwrights have been in conversation with issues surrounding our increasingly dystopic cultural landscape. Lisa D'Amour's Detroit (2010) and Airline Highway (2015), Dominique Morisseau's Skeleton Crew (2016), and Lynn Nottage's Sweat (2015) explore the dismal conditions workers face in our neoliberal economy, while Will Arbery's Heroes of the Fourth Turning ... Read More PubDate: 2024-03-09T00:00:00-05:00
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Abstract: Nora! Nora! … Empty. She's gone. (A sudden hope leaps in him.) The greatest miracle—'!I have peeped into a great many doll's houses; and I have found that the dolls are not all female.The Doll's House … has caused the greatest revolution in our time in the most important relationship there is—that between men and women. … Ibsen has been the greatest influence on the present generation. … His ideas have become part of our lives.When Nora Helmer departs Torvald's doll house to educate herself as an adult human being, she leaves behind a paragon of nineteenth-century masculine "honor" whose questions as to what he must do, how he must change, she cannot answer.1 Whereas most commentary on A Doll House assumes that ... Read More PubDate: 2024-03-09T00:00:00-05:00
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Abstract: Interest in the American theatre's representations of gender soared by the end of the twentieth century. In the space of a decade, several important studies—the collection Feminist Rereadings of Modern American Drama (1989) edited by June Schlueter, David Savran's Communists, Cowboys and Queers: The Politics of Masculinity in the Work of Arthur Miller and Tennessee Williams (1992), Carla J. McDonough's Staging Masculinity: Male Identity in Contemporary American Drama (1997), to name just a few—examined gender politics on the American stage. One could be forgiven, then, for expecting this critical space to now be overcrowded.This context underscores the achievement of Claire Gleitman's innovative book Anxious ... Read More PubDate: 2024-03-09T00:00:00-05:00
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Abstract: There is already a large canon of literature (of varying quality and accuracy) regarding Noël Coward's life and work, including volumes written by Coward himself. Therefore, in order to justify penning yet another volume about "The Master," an author needs to find a new angle. Reading Russell Jackson's Noël Coward: The Playwright's Craft in a Changing Theatre and Oliver Soden's latest biography Masquerade: The Lives of Noël Coward, it is clear that they have both succeeded in doing so.Jackson's and Soden's respective books differ in their approach and target demographic, but what they both have in common is their extensive use of archival research. Both have thoroughly researched the main Coward archives, which are ... Read More PubDate: 2024-03-09T00:00:00-05:00
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Abstract: The West Coast premiere of Let The Right One In opened May 20, 2023 at Berkeley Repertory Theatre. This production was headed by the original British creative team with American actors. The story is based on the Swedish vampire novel Lat den Ratte Komma in by John Ajvide Lindqvist, which was subsequently adapted for a movie, popular with Generation Z. Stage director John Tiffany, choreographer Steven Hoggett and playwright Jack Thorne collaborated to theatrically capture both the magic and horror of a love story between a troubled adolescent boy, Oskar, and an ageless vampire in the guise of an androgynous pre-pubescent, Eli. Each finds solace in the other and they finally venture together into an unknown future. ... Read More PubDate: 2024-03-09T00:00:00-05:00
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