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Field Notes and Reading Notes

Studying with Barbara Kirshenblatt-Gimblett in the 1990s

Nélia Dias

entitled Performance Studies Issues and Methods . Unit III: Total Performance (H42.2617) at New York University's (NYU) Tisch School of the Arts in the 1990s ( Kirshenblatt-Gimblett and Buckland 1997 ). After attending Halloween events during the week of

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Teatrum Mundi

Teaching Shakespeare Performance to Israeli Medical Students

Rebecca Gillis

native English speakers. I am also accompanied by a member of the medical faculty (Russian, Arab Israeli, Jewish Israeli) who is there to teach alongside me. In this article I explain these medical students’ participation in a Shakespeare performance

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Shylock and the Nazis

Continuation or Reinvention?

Alessandra Bassey

article claimed that ‘Werner Krauss would be portraying a Shylock that broke with the performance traditions of the past 50 years’, that the director Lothar Müthel would transform the performance into a fairy-tale-like, enchanting comedy, and that Antonio

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The Colonial State and Carnival

The Complexity and Ambiguity of Carnival in Guinea-Bissau, West Africa

Christoph Kohl

colonial authority. In this article, carnival, crises, mimesis, and colonial representations constitute the ‘ingredients’ of an inquiry into how the colonial state engaged with the threats of mimetic carnival performances. The analysis focuses on two

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Voicing Pride and Futurity in the Age of A.I.

An Interview with Playwright Pao-Chang Tsai on Solo Date

Jing Chen and Pao-Chang Tsai

queer body in this work provides a core sample with which to examine the incorporation of queerness, futurism, and new media via theater performance. Solo Date has been praised for its critical interrogation of love and loss in an age of artificial

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“Purely Artistic”

Police Power and Popular Culture in Colonial Algerian Theater

Danielle Beaujon

Arabic-speaking population of Algiers rubbed shoulders, but not everyone attended for the love of theater. Mixed among the eager spectators, a policeman attended the “Arab” performances at this (and every) theater in Algiers. For the actors, musicians

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Flying above Bloodshed

Performative Protest in the Scared City of Damascus

Ziad Adwan

of interest. Indeed, elements from the fields of theater and performance were not prominent during the tension of the moment, yet demonstrations and flying demonstrations extended aspects of my theatrical career in Syria between 2009 and 2011, when I

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Physically Distant – Socially Intimate

Reflecting on Public Performances of Resistance in a Pandemic Situation

Marion Hamm

-arranged during this public performance (Hamm 2020) under lockdown. Based on fieldnotes, online communication on the day, open-ended digital strolls and peer-to-peer communication, I constructed a thick description by contextualising ethnographic scenes around

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James K. Beggan

space that privileges men relative to women and reinforces a conventional gender hierarchy. Simultaneously, however, external ejaculation foregrounds performance dynamics that normalize unrealistic expectations for men's sexuality that can, in turn

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Negotiating Identities

Being “Boy,” Being “Filipino,” Being “Other”

Victoria Cann

In this article I draw on data gathered from focus groups hosted in the summer of 2012 and speak to the diverse literature within the field of masculinity studies. More specifically, I explore the role that race and place plays in the performance