This article examines the elements of theatrical and political spectacle surrounding the tour of the US Fleet to the Pacific and Japan in 1908, its melodramatic afterlife in the 1909 season of the New York Hippodrome, and the performances in the civic spaces of New York City by the production's Māori extras. Arguing that these touristic and theatrical spectacles were constitutive of an emergent globalist and Imperialist regional imaginary, the "American Pacific," it examines the geopolitical underpinnings to this cultural formation, its racial politics, the global and globalizing revolution in the entertainment industry that was a crucial component of it, and its aesthetic economies of virtualization. The article takes issues with the theoretical optic of Orientalism and the postmodern understanding of spectacle, and forwards an alternative model of spectacle as inauguration. This model accounts for spectacle's centrality to the cultures of circulation that produce global systems and recognizes its nature as a multivocal, unstable, porous medium of political and social formation that is responsive to dissenting or local agendas and utopic imaginaries.
This essay considers the theatrical production of Asian Boys Vol. 1 in Singapore as it is imbricated in neoliberal, nationalist, and diasporic circuits using a new critical formulation called "glocalqueering." Arguing that the global queering lens is inadequate in understanding the predicament of queer men in global cities like Singapore, the article turns to the play as an example of a queer and trans/national theatre production that unravels the politics of performing gay in Singapore and/as New Asia. While uncovering the glocalqueering circuits of this production, the essay also examines the effectiveness of using global Asian queer boys in the hyper-consumerist and highly regulated context of Singapore for queer self-representation, visibility, and political intervention by sexual minorities.
Theater -- Economic aspects -- New York (State) -- New York.
Tourism and the arts -- Economic aspects -- New York (State) -- New York.
Theater -- Economic aspects -- Nevada -- Las Vegas.
Tourism and the arts -- Economic aspects -- Nevada -- Las Vegas.
This essay looks at the relationship between theatre and tourism in the global marketplace. Through case studies of theatre and theatricalization in New York City and Las Vegas, "Theatre/Tourism" explores how cultural practices have been harnessed as a powerful marketing strategy in the branding of cities, and how this has impacted the nature and reach of theatrical production. For this reason, corporate entertainment interests have increasingly understood the value of the tourist spectator and have developed theatre products to underpin a complex tourism "ecology." From a study of theatre and globalization in this context, new questions and emphases emerge not only for the economics of theatrical production and the composition of theatre audiences, but also for how scholars think about the historicization of contemporary theatre practices. One outcome of this work is to insist on the place of commercial theatre in critical/historical accounts of late twentieth and early twenty-first century drama and performance.
This article examines Tony Kushner's Homebody/Kabul alongside the recent career of the world's most famous footballer in order to argue that live theatre, like global sporting culture, can function as a site of transnational connection and local transformation. Using Gilles Deleuze and Félix Guattari's concept of nomadology as a way of negotiating between the globally relative and locally absolute claims of history, the article situates Kushner's evolving gloss on the "war machine" that is Afghanistan within the context of one cultural critic's own deterritorialized and itinerant responses to two separate productions of the play (in London and New York) between 2002 and 2004. These productions are further juxtaposed with the contests between discourses of globalism, nationalism, and migrancy that have routinely emerged in the media in connection with David Beckham, especially in the lead-up to the 2002 World Cup, and following his trade to Real Madrid in 2003. Beckham is not paradigmatically a nomad, but the sport he plays, and the fans who follow its theatrics, resist easy conscription by the State, even as powerful a governing body as FIFA. Thus, an analysis of Beckham's travels, both on and off the field, serves to contextualize the confluence of the local and the global, the personal and the political, that simultaneously mobilizes this article's reading of Kushner's play.
This essay explores the ways in which theatre and performance are used to market trauma and humanitarianism in northern Uganda, where a civil war has been waging between the Lord's Resistance Army (LRA) and the Ugandan government since the late 1980s. Specifically, the article focuses on the dynamics of performance in a rehabilitation center for former child soldiers sponsored by World Vision. I draw upon my observations and personal experiences at the center to suggest that drama is valued primarily as a marketing tool to reach international and national audiences. In addressing specific variations upon the narrative of war, however, I find that theoretical frameworks of globalization and marketing do not satisfactorily explain the fierce investment in a linear story and the trappings of realism. The final section argues that former LRA captives use indigenous dances to carve out a space in which cultural memory and globalization intersect.
Yellowface: Creating the Chinese in American Popular Music and Performance, 1850-1920s, and: Cold War Orientalism: Asia in the Middlebrow Imagination, 1945-1961 (review) [Access article in HTML][Access article in PDF] Subject Headings:
Moon, Krystyn R., 1974- Yellowface: creating the Chinese in American popular music and performance, 1850-1920s.
Klein, Christina, 1963- Cold War orientalism: Asia in the middlebrow imagination, 1945-1961.
Popular music -- United States -- History and criticism.
Makaryk, Irene Rima. Shakespeare in the undiscovered bourn: Les Kurbas, Ukrainian modernism, and early Soviet cultural politics.
Kurbas, Les, 1887-1937 -- Criticism and interpretation.
A History of Theatre in Africa, and: Playing for Life: Performance in Africa in the Age of AIDS, and: Theatre and Empowerment: Community Drama on the World Stage (review) [Access article in HTML][Access article in PDF] Subject Headings:
Banham, Martin, ed. History of theatre in Africa.
Bourgault, Louise Manon. Playing for life: performance in Africa in the age of AIDS.
Boon, Richard, ed. Theatre and empowerment: community drama on the world stage.