A "no holds barred" attitude and open-door policy made Franklin
Furnace an "autonomous zone"-as C. Carr calls it-in the New
York art world.The artist came first in this artist-run space. In this
special section on Franklin Furnace and its move from liveness into
virtuality, artists, curators, critics, and others who were there remember
the artwork that filled the Furnace's walls, shelves, windows, basement,
and beyond. Founding director Martha Wilson argues for the Furnace's
mission to single-handedly "make the world safe for avantgarde art."
Petit, Philippe, 1949- -- Criticism and interpretation.
In 1974, Philippe Petit tightrope walked between the twin towers of
the World Trade Center. In 2004, Petit reprised that performance in
Washington Square Park, more than a thousand feet closer to the
ground and in a very different world.
Performance artist Vanessa Beecroft's VB54, her first New York
appearance in four years, suspends African American fashion models
in a performative space between history and ephemerality,
representationality and boredom.
Morinaga, Maki Isaka.
Osanai Kaoru's Dilemma: "Amateurism by Professionals" in Modern Japanese Theatre [Access article in PDF] Subject Headings:
Osanai, Kaoru, 1881-1928 -- Criticism and interpretation.
Theater -- Japan.
In Tokyo in 1909, Osanai Kaoru staged Ibsen's John Gabriel Borkman,
thereby launching the Japanese modern theatre, shingeki, New Theatre.
But many of Kaoru's actors were kabuki-the "old theatre." The
implications of a new, art theatre performed by traditional actors until
now has not been thoroughly analyzed.What were Osanai's
"contradictory" ideas about "professional amateurism"? How did
modernity cause epistemological tensions in modern Japanese theatre?
Stéphane Braunschweig's Theatre-Machine: Structuring Space on the Contemporary French Stage [Access article in PDF] Subject Headings:
Braunschweig, Stéphane -- Criticism and interpretation.
Braunschweig is one of the young European directors developing
innovative scenographic techniques that interrogate the relationship
between space, body, and text. Braunschweig's uses three-dimensional
theatre-machines to explore ambiguities and contradictions, even as
he confronts spectators with the materiality of the stage and the
Meditating on Odin Teatret's longevity, Barba writes what he calls "a
fairy tale" about two brothers-Error and Disorder-who travel the
world shadowing each other. Disorder is the irruption of an energy that
confronts us with the unknown. And Error is a liberating challenge to
orthodox art. For Barba, the creative interaction of Error and Disorder is
the energy source driving true Odin on its amazing 40-year-odyssey.
Winet, Evan Darwin.
Kabuki Plays on Stage: Brilliance and Bravado, 1697-1766, and: Kabuki Plays on Stage: Villainy and Vengeance, 1773-1799, and: Kabuki Plays on Stage: Darkness and Desire, 1804-1864 (review) [Access article in PDF] Subject Headings:
Brandon, James R., ed. Kabuki plays on stage.
Leiter, Samuel L., ed.
Kabuki plays -- Translations into English.
Dancing Machines: Choreographies of the Age of Mechanical Reproduction (review) [Access article in PDF] Subject Headings:
McCarren, Felicia M. Dancing machines: choreographies of the age of mechanical reproduction.
Nesmith, N. Graham.
African American Performance and Theater History: A Critical Reader, and: A History of African American Theatre (review) [Access article in PDF] Subject Headings:
Elam, Harry Justin, ed. African American performance and theater history: a critical reader.