restricted access   Volume 51, Number 2 (T 194), Summer 2007

Table of Contents

From: TDR: The Drama Review

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Guest Editor: André Lepecki

Alien of Extraordinary Ability

pp. 2-3

TDR Comment

TDR Comment: Of Sugarcoating and Hope

pp. 7-10


The Theatre of Krishen Jit: The Politics of Staging Difference in Multicultural Malaysia

pp. 11-23

Springtime for Kim Il-sung in Pyongyang: City On Stage, City As Stage

pp. 24-40

Bohemianism, the Cultural Turn of the Avantgarde, and Forgetting the Roma

pp. 41-59

Intercultural Expectations: I La Galigo in Singapore

pp. 60-75

Letting It All Hang Out: Mardi Gras Performances Live and on Video

pp. 76-93

José Triana: An Interview

pp. 94-118

Dance Composes Philosophy Composes Dance Series on New Choreography, Part II

This second installment of TDR’s continuing series on choreography and philosophy addresses dance and temporality. Paula Caspão describes the economy of movement and language as a stuttering, relational, affective field. Frédéric Pouillaude argues that contemporaneity links dance and scène, which in French means both an abstract place for an event and, more concretely, the stage. In a dialogue, Danielle Goldman and Deborah Hay follow up on Goldman’s considerations of how improvisation offers “escape routes”—for and from dance, theory, and time.

Choreography as Apparatus of Capture

pp. 119-123

Scène and Contemporaneity

pp. 124-135

Stroboscopic Stutter: on the not-yet-captured ontological condition of limit-attractions

pp. 136-156

Deborah Hay's O, O

pp. 157-170


pp. 158-168

O, O: excerpt from the score

p. 163

Critical Acts

What is the relationship of an artwork to the sociopolitical context in which that work was created? James Westcott discusses how Thomas Hirschhorn in Superficial Engagement reproduces the violence of war propaganda. Magda Romanska analyzes the trial in Poland of Dorota Nieznalska, accused of “offending religious feelings” with her work Passion. Ilka Saal reports on the 15th International Istanbul Theater Festival where emerging artists break with both the state and aging Western notions of the avantgarde.

Gut Feeling: Thomas Hirschhorn's Superficial Engagement

pp. 171-175

The Anatomy of Blasphemy: Passion and the Trial of Dorota Nieznalska

pp. 176-181

On the Stages of Istanbul: Atatürk and the New Young Turks

pp. 181-186


Women, Modernism, and Performance (review)

pp. 187-188

Understanding Adrienne Kennedy (review)

pp. 189-191

Susan Glaspell: Her Life and Times (review)

pp. 191-192

The Theater of Transformation: Postmodernism in American Drama, and: Expressionism and Modernism in the Modern Theatre: Bodies, Voices, Words (review)

pp. 192-194

Unspeakable Acts: The Avant-Garde Theatre of Terayama Shuji and Postwar Japan (review)

pp. 195-196

Modern Japanese Theatre and Performance (review)

pp. 196-197

Archaeology of Performance (review)

p. 197