![[Project MUSE]](/images/b_muse.gif){kind=small}
![[Search Page]](/images/b_search.gif){kind=small}
![[Journals]](/images/b_journals.gif){kind=small}
![[Journal Directory]](/images/b_thisjournal.gif){kind=small}
![[Top]](/images/b_top.gif){kind=small}
During the late 1990s, participants in Freaknic, the annual black college spring break gathering, were greeted by the Atlanta police in riot gear. Defying the police, women gave impromptu performances, sometimes stripping for participants’ cameras. Thompson shows how these performances were a response not only to the city’s treatment of Freaknic but also to Atlanta’s long history of using force to control race, gender, and class.
As artistic director of the Acco Festival (2001–2004), Atay Citron turned the Festival into a showcase of intercultural and interdisciplinary events. Citron established Acco as the site for Arab-Jewish dialogue, a place where Jewish and Arab artists worked together for the first time.
Consumer electronics, telecommunications, and computing increasingly inhabit the background of everyday life—guiding people’s behavior sometimes without their knowledge. What are the possibilities and limitations of ambient intelligence? What will the future bring as the boundaries between the real and the virtual dissolve?
How can the wheelchair be other than a placeholder for tragedy or negativity? Kuppers examines the wheelchair as a prop and as a playground of multiple intersecting narratives, desires, textures, and signs in Murderball, Guillermo Gómez-Peña’s Museum of Fetishized Identities, and the X-Men movies.
The Playback Theatre method is humble: trained performers act out life stories volunteered by audience members. Playback Theatre’s goal is to illuminate social problems and resolve them. Like Boal’s Theatre of the Oppressed, Playback Theatre strives to give voice and visibility to those overlooked and ignored.
The Playback Theatre method is humble: trained performers act out life stories volunteered by audience members. Playback Theatre’s goal is to illuminate social problems and resolve them. Like Boal’s Theatre of the Oppressed, Playback Theatre strives to give voice and visibility to those overlooked and ignored.
To perform Playback Theatre effectively, practitioners learn the language of their hosts, live in the same dwellings, eat the same food, and take part in daily activities. Most importantly, Playbackers listen to stories and play these back. Meer’s anthropological research in Cuba has been to locate an essential Cuban “we.” She finds that her work and Playback are similar in motivation and mission, a teatro comunitario.
In 1935 in Moscow, Mei Lanfang famously showed Brecht (and others) some gestures of classic Chinese theatre. This, Brecht said, was the source of his theory of “alienation.” Was it ethnocentric for Brecht to assume that the feeling of strangeness he experienced watching Mei Lanfang was intended by Mei? Can one talk about the Verfremsdungeffkt at all without generalizing from audience response to artist intention, or from artist intention to audience response?
The early 1990s, with the collapse of the German Democratic Republic and the reunification of Germany, resulted in the most radical shake-up of German theatre since 1933. German theatre remains in a state of crisis, haunted by constant threats of cutbacks and closures. What is this German “theatre crisis” from the macroeconomic, political, and social perspectives? How might it be mitigated?
|
|
|
|
|
| |