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In this Issue

Table of Contents

  1. dead-in-iraq: performance/memorial/protest
  2. Joseph Delappe
  3. pp. 2-3
  4. restricted access

TDR Comment

  1. "We Are, After All, at War"
  2. Richard Schechner
  3. pp. 7-10
  4. restricted access
  1. Planning Ahead with Adolf Hitler
  2. Kenneth H. Brown
  3. pp. 11-13
  4. restricted access

Letters, Etc.

  1. TDR Comings and Goings
  2. Richard Schechner, Mariellen R. Sandford
  3. pp. 14-16
  4. restricted access

Articles

  1. Telling and Showing: Witnesses Represent Sierra Leone’s War Atrocities in Court and Onstage
  2. Shanee Stepakoff
  3. pp. 17-31
  4. restricted access
  1. Performing the Nation: Theatre in Post-Genocide Rwanda
  2. Ananda Breed
  3. pp. 32-50
  4. restricted access
  1. From Mastermind to Body Artist: Political Performances of Slobodan Milošević
  2. Branislav Jakovljevic
  3. pp. 51-74
  4. restricted access
  1. Witnessing Proceedings: The Hague War Crimes Tribunal, Narrative Indeterminacy, and the Public Audience
  2. Graham White
  3. pp. 75-87
  4. restricted access
  1. Acts of Violence: Theatre of Resistance and Relief in the Colombian War Zone
  2. Barnaby King
  3. pp. 88-109
  4. restricted access
  1. Three Stories from the Trenches: The Theatre of the Oppressed in the Midst of War
  2. Doug Paterson
  3. pp. 110-117
  4. restricted access
  1. Gulag, the Musical: Performing Trauma in North Korea through Yoduk Story
  2. Suk-Young Kim
  3. pp. 118-135
  4. restricted access

Pieces

  1. Performing the State of Exception: Coco Fusco’s Operation Atropos and A Room of One’s Own
  2. José Esteban Muñoz
  3. pp. 136-139
  4. restricted access
  1. Artist’s Statement
  2. Coco Fusco
  3. pp. 139-153
  4. restricted access
  1. Theatre as Discipline: Performing Military Interrogation: An Interview with Mike Ritz
  2. Coco Fusco, Mike Ritz
  3. pp. 153-159
  4. restricted access
  1. Blackened Windows: from The War Zone Is My Bed
  2. Yasmine Beverly Rana
  3. pp. 160-166
  4. restricted access
  1. Biokhraphia
  2. Lina Saneh, Rabih Mroué
  3. pp. 167-178
  4. restricted access

Critical Acts

This issue’s Critical Acts focuses on “war and other bad shit” in terms of censorship, immigration, and art as a form of political protest and recovery. In “Habeas Corpus,” Ann Pellegrini uses Sally Field’s censored Emmy-acceptance speech to exemplify the Bush administration’s privatization of mourning as a means “to bind us to acts of fatal violence against an objectified and dehumanized ‘enemy.’” In her account of Luigi Nono’s The Forest Is Young and Full of Life, Judy Lochhead examines the possibility of music as activism, noting how history is recycled from the Vietnam War to today. William Bowling and Rachel Carrico describe how art heals in Lakeviews, part of a post-Katrina project. Guillermo Gómez-Peña rages against “border hysteria,” when the “War on Terror” becomes a “war on difference.”

  1. Habeas Corpus: Behold the Body
  2. Ann Pellegrini
  3. pp. 179-182
  4. restricted access
  1. On Recent Performances of Luigi Nono’s The Forest Is Young and Full of Life
  2. Judith Irene Lochhead
  3. pp. 182-189
  4. restricted access
  1. Lakeviews: A Bus Tour As a Vehicle for Regrowth in New Orleans
  2. William Bowling, Rachel Carrico
  3. pp. 190-196
  4. restricted access
  1. Border Hysteria and the War against Difference
  2. Guillermo Gómez-Peña
  3. pp. 196-203
  4. restricted access

Books

  1. Significant Other: Staging the American in China (review)
  2. Rossella Ferrari
  3. pp. 204-206
  4. restricted access
  1. Utopia in Performance: Finding Hope at the Theatre (review)
  2. Paige McGinley
  3. pp. 206-208
  4. restricted access
  1. Dancing from Past to Present: Nation, Culture, Identities (review)
  2. Kélina Gotman
  3. pp. 208-210
  4. restricted access
  1. Performing Consumers: Global Capital and Its Theatrical Seduction (review)
  2. Carla Mastraccio
  3. pp. 210-212
  4. restricted access