Tôzai !... Corps Et Cris Des Marionnettes D'osaka

Books 175

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In bunraku this marionette speech takes a special form, gidayuˉ In bunraku this marionette speech takes a special form, By François Bizet. Paris: Les Belles Lettres/Collection Japon, Paris: Les Belles Lettres/Collection Japon, By François Bizet. paper. 25€ 2013; 192 pp. to speak of the screams and cries It would seem contradictory of some recent elec- with the exception — who of marionettes, mys- Their charm, are all body and no voice. — tronic versions to strangeness are in great part attributable and disquieting tery, their ventriloquated voices are in themselves and their muteness, raises the art of the The Japanese bunraku theatre an art form. with the marionette marionette to great heights of complexity, the narration and sound effects controlled by three puppeteers, (tayuˉ effected by the narrator-chanter and existential paradoxes of The ontological complexity players. who by François Bizet, such puppetry are brilliantly investigated both escapes definition, “The character in bunraku explains, Its real life is else- in an optical sense and in speculative terms. in perpetual recreation of the self [...] multiplying epiphanies, where: dispersed and dissipated, to a univocal revelation of presence” rather than holding and signs, places, tinence of the book’s epigraph, the famed question from Hamlet: “Who is there?” The “who” is “who” The “Who is there?” the famed question from Hamlet: tinence of the book’s epigraph, reborn at “subject” with the marionette — deracinated destabilized, dehierarchized, decentered, radical contemporaneity of bunraku. suggesting the — each moment in different configurations while which, prose, stems in great part from the beauty of Bizet’s But the pleasure of Tozai!... he describes how as when and hear these subtle effects, makes us see articulating art and theory, without grav- decentered place, namely a depressional, “[...] an energumen, the puppet becomes foundering from rhythmic phe- dislocated, undermined, an open tomb, traversed by gusts, ity, broken in the floored by the intensification of sound, raised from the earth by a sound, nomena, with the excep- reunited, accelerando: all these conditions staccato, crescendo, rattled again, air, What is enlightened by contemporary theory is also (71). for the trance” tion of flesh and blood, the subject where procedures of ventriloquism, nourished by the most ancient and mysterious god. demon or whether by muse or ghost, but is spoken, in trance doesn’t speak, shamisen accompaniment named after Takemoto Gidayuˉ (1651–1724), the inventor of the (1651–1724), Gidayuˉ Takemoto shamisen accompaniment named after to explain Bizet attempts major style of chanted narration in bunraku theatre used to this day. If I ‘What is gidayuˉ?’ to the oft-posed question: “It is impossible to respond its complexity: declamatory part is evacuated; if I suggest that it is the the say that it is a technique of singing, the theatrical dimension; if I pretend that it is the- I forget art of presenting an epic or a tale, Just as gidayu (134). where is the song?” is only a storyteller, if the tayuˉ the tale is lost; but, atre, like the manipulation of the marionettes, is taught through oral transmission, Bizet’s descrip- is taught through oral transmission, like the manipulation of the marionettes, paralleled by perhaps most closely tions give us a sense of this extraordinary exclamatory style, my own. All translations are 1. Tôzai !... Corps et cris des marionnettes d’Osaka. Corps et cris des marionnettes !... Tôzai Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_r_00380 by guest on 24 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_r_00380 by guest on 24 September 2021

176 Books who’s there? ner ofauniquelyfemalecontemporaryartformbasedonancient dramatictraditions. Indeed, of battle, therushofwind, thesobsofmourning, inavoicetaughtbywomanpractitio- and ashamisenplayer, declaimingthewordsofagreatwarriorlonggone, aswellthesounds theorist FrançoisBizetfindshimselfinJapan, onastage withoutdecororactors, onlyhimself beginning ofabunrakuplay. Italsodescribesthenarrative arcofthisbook, inwhichFrench bodies butthroughthemostintensiveoraleducationimaginable.) trati, whoseextraordinaryimprovisedfioratura weremadepossiblenotonlybytheirmutilated those madepossiblebyvisualscores. (We mightberemindedofthoselostsoundsthecas- praise ofthespecificvaluesoraltransmission, whichpermittechniquesandeffectsfarbeyond larly Western techniquesofmusicaldeclamationsuchasSprechgesang andSprechstimme, andhis precision ofhisdescriptionsvocaltechnique, hisdigressionsontheambiguitiesofparticu- under thetutelageof Takemoto Koshiko serious engagementwithcontemporaryfemalegidayuˉ, butheundertookstudiesofthisartform a passionforbunrakuanditsparticularmodesofenunciation, andnotonlydidhedevelopa chanters ofgidayuˉ. Buthegoesmuchfurtherthanthat, insofarasnotonlywasBizetstruckwith all themoreprofoundwhenherethinkstheseissuesinregardtoall-too-humanfemale Bizet’s analysisofthesoniccomplexityandconvolutedsubjectivitybunrakupuppetsismade atre, andfewerstillhavediscussedthetransformationofgidayuˉ intoauniquelyfemaleartform. less studiesofbunraku, thoughfewinthe West havecenteredonthevocalaspectsofthisthe- Banu, citedbyBizet, referstoas, “veritable phonicmasks” (107). There havebeencount- typosis (thetropethatdescribesvividvisualdescription), creatingwhattheatrecriticGeorges tation. This effectsasonicmaterializationoftheabsentstage, ahyperbolicinstanceofhypo- sound effects, inasortofexpandedvocalperformanceattheverylimitsvoiceandrepresen- chanter, accompaniedbyasingleshamisen, recitesallparts, bothmale andfemale, aswellall that continuestothisday, wheretheentirebunrakuplayisstagedwithoutmarionettes. The appearing onstageinmid-17th-centuryJapan, femaleperformersperfectedaformofgidayu Claudel, whosaiditsosuccinctly: “It isnotanactorthatspeaks, itisspeechthatacts” (44). Ponty’s own tale” (44). Or, inaclaimthatwouldhaveusrereadthosepassagesofMauriceMerleau- manner. Voice doesn’tillustrategesture, havingitselfbecomegestureandrecountingitsvery Voice doesn’taccompanygesture, butswellsandgerminatesoverflowsinanautonomous also affectstheveryontologyofbunrakupuppetry: “The voiceasanoutgrowthofgesture. we wouldspeakofextendedvocaltechniques)initselfanextraordinaryphenomenon, butit creaks, shrillwhistles” (43). Notonlyissuchavirtuosicvoice(inrelationtooccidentalsong new, extremelymobileandeffervescentmatterthatisthefrenzied, ecstaticvoice:growls, clicks, an enormouspartofthecharacter’sexistenceishenceforthdisplacedandaccumulatesinthis and ItsDouble([1938]1958). Writing ofthevocalizationstayuˉ, Bizetinformsus, “[...] Artaud’s callforanewformoftheatricalincantation, anaffectiveathleticism, inTheTheater Merleau-Ponty, Maurice. (1945)1962.PhenomenologyofPerception. London:Routledge&KeganPaul. Artaud, Antonin. (1938)1958. The Theater anditsDouble. Trans. MaryCaroline Richards. New York: References Tozai! — literally, “From Eastto West!” or “East and West!” — is thecrythatsignals But thereisafascinatingderivationofgidayuˉ, thetruecenterofBizet’sstudy. Barredfrom Grove Press. Phenomenology ofPerception ([1945]1962)dealingwithspeechasgesture, BizetcitesPaul ˉ andhasbecomeapractitionerofthisart. Whence the —AllenS. Weiss ˉ Books 177 Métaphysique de la 2013),Métaphysique de France, (Mercure t de Kyoto ¥ By Kris Salata. London: Routledge, 2013; Routledge, London: By Kris Salata. (2010) is absent. Grotowski (2010) is absent. of Jerzy The Legacy Work: and Body Voice Zygmunt Molik’s

Salata’s text has a slightly repetitive structure, which he justifies in a note to the reader that which he justifies in a note to the Salata’s text has a slightly repetitive structure, over key but he skates Salata states explicitly that he is not writing a history or a survey, Salata acknowledges the impact of paratheatre on its many participants, yet gives it short shrift, yet gives it short shrift, Salata acknowledges the impact of paratheatre on its many participants, It was not clear to me why “chatter.” claiming that writing about it would lead only to more like Salata’s since, paratheatre was not considered valid for an examination such as Salata’s, encounter; though as a slice of history a purely phe- it was focused on the interhuman project, given the period he is primar- More significantly, nomenological approach would be difficult. Maud Robart’s influence and her research into he all but ignores Haitian ily investigating, 220 pp. $125.00 cloth. 220 pp. Kris Salata’s The Unwritten Grotowski American scholar Polish As a native Pole who has translated is insightful and welcome. unknown to non-Polish speak- texts by Grotowski previously to Grotowski scholarship is invalu- Salata’s contribution ers, and is brought in this book is thoughtful, His methodology able. work and to to bear on both the wider reception of Grotowski’s primary research into Salata has done a lesser extent its legacy. Thomas Richards since of Jerzy Grotowski and Workcenter the the book’s main mate- 2004; his experiences with them provide across “aliveness” and “encounter” Analyzing the terms rial. Art the period called Grotowski’s oeuvre but especially during he brings Workcenter, as vehicle based on his time with the debates about how together many new ideas to inform broader personal interactions that we write about the kinds of intimate, lessons here for those interested in immersive perfor- There are many Grotowski developed. the event the kind of theatre where an audience is brought directly into mance for example, But there is physical contact and active participation. with one-to-one interactions or through me. also a selectivity about this book that troubled prologue attempts a more episodic diary-like register. The subsequent precedes the preface. experimenta- but the spirit of is thereby deferred, The pleasure of the six chapters that follow Salata uses which becomes more theoretical. book, tion and enquiry carries on throughout the Martin Buber and Jacques Derrida to understand the Martin Heidegger predominantly but also In the pro- seeking throughout his multiple phases. kind of human encounter Grotowski was is enlighten- Adam Mickiewicz and Polish Romanticism the book logue and in the chapter on on the United States In his final chapter Salata focuses presenting complex issues accessibly. ing, Thomas bringing the research back home for recent activities there, Workcenter’s and the Richards as well as the author. ( Journey; 2005) is not men- Rena Mirecka’s Polish book Podróz˙ aspects of Grotowski’s legacy. Ludwik Flaszen’s collected writ- publications, and in terms of recent English-language tioned, with and Zygmunt Molik’s book and DVD ings (2013) is in the bibliography but not cited, Routledge, The Unwritten Grotowski: Theory and Practice and Practice Theory Unwritten Grotowski: The of the Encounter. (Reaktion Books, 2013). [email protected] Books, (Reaktion Landscapes and Zen 2013), Argol, miette (Éditions Fall 2014. ©2014 Review 58:3 (T223) Drama TDR: The Weiss S. Allen Allen S. Weiss teaches in the Departments of Performance Studies and Cinema Studies at New York York New at Studies and Cinema Studies in the Departments teaches Performance of Weiss S. Allen Le Gou books are most recent His University. Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_r_00380 by guest on 24 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_r_00380 by guest on 24 September 2021

178 Books Richards, Thomas.1995. Molik, Zygmunt, andGiuliano Campo. 2010. ZygmuntMolik’s Voice andBodywork: The Legacy ofJerzy his contributiontotheoftenvexedbutstillveryrichveinofGrotowskian scholarship. “marginalized” turnsagainsttheauthorinmakingusquestion whathehimselfmarginalizesin of spectatorship. Butforthisreaderatleast, thebook’s polemicthatthe Workcenter hasbeen theatre practicemorewidelyandnotjustperformancesaccording tothemostfamiliar “rules” able” events, pointingtothe “unwritten” ofhistitle. Salatabreaksnewgroundonwritingabout shame, asthisbookhasmuchtoofferwithitsoriginalinsightsintohowread “unrepresent- though hewritesaboutbothbriefly. Thisfeelsliketwostepsforwardandonestepback. It’sa but couldnotfinditunder T, D, ForevenMforMarlowe. It’snotthere, asneither isAkropolis, index’s selectivitydemonstratesthis;IlookedinvainforThe Tragical ofDoctorFaustus History sidering whatisandnotofvaluewheninvestigatingGrotowski’soeuvrelegacy. The rather thanwitnesses. This isratherpejorativeandraisesformeanimplicithierarchyincon- When writingaboutTheConstantPrince, Salatatwicereferstothespectatorsas “Peeping Toms” word thatSalatatranslatesas “ridiculing” ( Tadeusz Kudlin´ski’s review(1961:3)of Teatr Laboratorium’s Dziady mon usagewithhisowntranslations: “apotheosis andridiculing” isanexample — taken from greater accessthroughticketedperformanceevents. ironic, becauseitistotheseeventsthatthetheatrescholarandpublicingeneralcanhave the ongoingOpenProgramledby Workcenter’s Associate DirectorMarioBiagini. This is as vehiclephasetothedetrimentofGrotowski’sotherprojects;buthealsobarelyengageswith vital andstimulatingquestionstoaskaboutcurrenttheatrescholarship, hefocusesonthe Art into hisownexperienceandstrugglestostandbackseeabiggerpicture. While Salatahas here wecanseethelimitationsofaphenomenologicalapproachwhenscholargetsdrawn The LivingRoombecausethatiswhereittakesplace — in people’sapartments/houses. Perhaps thereby preventinglarge-scalepublicaccesstoitsworks. Moreover, theirmain “opus” iscalled Grotowski’s death. Nevertheless, the Workcenter doesnotpresentatmajortheatrefestivals, cially consideringthelargepan-Europeanproject, Tracing Roads Across, ledbyRichardsafter now Richards’spracticehasnotbeenasisolatedmanyhavedepictedorimaginedit, espe- tive andquiteremovednatureofthe Workcenter’s practice?FormanyyearsGrotowski’sand any perceivedlackofscholarlyengagementperhapscomewiththeterrain, giventheintrospec- again withRoutledge(2009). There isa2006editedcollectiononRobartinItalian. Butmight Nascimento haspublishedon Ang GeyPin’slong-termcollaborationwiththe Workcenter, the Workcenter’s praxis, albeitfromwithin, whichhavereverberatedwidely. Cláudia Tatinge Richards haspublishedtwobookswithRoutledge(1995, 2008)thatexplainindetailaspectsof been “Historically marginalizedbytheatrescholarship” (158). This surprisedme — Thomas her workundoubtedlyinfluencedRichards’sownvocalexplorations. Workcenter from1987to1993, yetsheisrelegatedheretotwopassingfootnotes, eventhough Afro-Caribbean vibratorysongs. GrotowskimetRobartin1978andshecollaboratedatthe Mirecka, Rena. 2005. Podróz Kudlin Flaszen, Ludwik. 2013.Grotowski&Company. Ed. Paul Allain. London:Routledge. References Grotowski. London:Routledge. Wrocław: The Grotowski Centre. in theLaboratory Theatre]. Ed. ZbigniewJe˛drychowski, ZbigniewOsin´ski, andGrzegorzZiółkowski. This issueisexacerbatedbythefactthatoccasionallySalatareplaceskeytermsincom- I lingeronsuchomissionsbecauseatonepointSalatastatesthatthe Workcenter has or CracoviansinOpole]. DziennikPolski 159(1July):3. ´ski, Tadeusz.´ski, 1961. At Work withGrotowski onPhysical Actions. London:Routledge. “Dziady” w13Rze˛dach, czylikrakowiacy wOpolu[Forefathers’Eveinthe13Rows, ˙ . RenaMirecka – aktorka Teatru Journey. Laboratorium RenaMirecka [ — An Actor os´mieszenia) haswidelybeentranslatedas “derision.” (Forefathers’ Eve), the —Paul Allain Books 179

The Routledge Companion to Theatre to Theatre Routledge Companion The single (2000). In each study, Kalb In each study, I + II (2000). Faust Richards. Thomas and Grotowski of Jerzy Workcenter the Within Heart of Practice: London: Routledge.

London: Routledge. Knowledge. The book’s introduction surveys the history of theatre through the lens of lengthy per- The book’s introduction surveys the history By Jonathan Kalb. Ann Arbor: University of Michigan Press, Arbor: University of Michigan Press, Ann By Jonathan Kalb. $28.95 paper, $55.00 cloth, 2011; 240 pp.; illustrations. e-book available. span of a “The illusion of living a lifetime within the “the mayfly Kalb’s description of this is Jonathan — day” in seven marathon the- which he finds manifested (49), effect” These perfor- 2009. atre events he watched between 1980 and took their spectators on — each over four hours long — mances “to compress the incom- in Kalb’s words, journeys that seemed, whole of life between bewilderingly ramified prehensibly messy, Lengths pulls Great (49). their opening and closing curtains” in individual into focus something many of us have experienced as a whole: the distinct instances but haven’t yet conceptualized In this eloquent character and effect of long-duration theatre. readers through richly Kalb guides his and thoughtful study, and — thinking about what lengthy theatre can detailed case studies and intimate philosophical media-saturated public. ironic, mean to a fast-paced, — sometimes does pageant plays, medieval Japanese noh drama, spanning the Greek City Dionysia, formances, direc- and today’s trendy during the Renaissance, the shortening of theatrical performances of seven stylistically The six main chapters provide close readings marathon events. tor-based and Europe: the Royal Shakespeare Company’s UK, the varied performances from the US, 24-actor (1980); Peter Brook’s eleven-hour, Nickleby 48-actor Nicholas eight-and-a-half-hour, 24-performer Einstein and Philip Glass’s five-hour, Wilson (1985); Robert The Mahabharata America (1993); Forced in 8-actor Angels Kushner’s seven-hour, Tony (1976); on the Beach Entertainment’s small-cast six-hour durational pieces Quizoola! (1996) and Speak Bitterness 33-actor (1994); and Peter Stein’s twenty-one-hour, draws on his personal viewing experiences (of both premieres and revivals) and subsequent and surround- effects, concepts, research to lead the reader on a tour of each work’s structure, particularly in the theatre: that length matters, He makes the argument ing critical debates. of contemporary culture “hurry sickness” marathon performance provides an antidote to the and inspires profound reflections on among spectators, forges a unique sense of community (2), time in a way no other medium can. Great Lengths: Seven Works of Marathon Theater. of Marathon Works Lengths: Seven Great TDR: The Drama Review 58:3 (T223) Fall 2014. ©2014 Review 58:3 (T223) TDR: The Drama Technology of Institute and the Massachusetts University York New Paul Allain is Professor of Theatre and Performance at the University of Kent, Canterbury. He He Canterbury. Kent, of University Performance at the and of Theatre is Professor Allain Paul 1989 to 1993 and is the author of from Association Theatre collaborated with the Gardzienice Practice Theatre Stillness: The 1997), The Art (Routledge, Transition of inTheatre Polish Gardzienice: and 2002; 2009, 2nd edition), (Methuen, Suzuki of Tadashi Richards, Thomas. Thomas. 2008. Richards, Bodies of Foreign Work: Actor’s the Through Borders Crossing Cultural 2009. Cláudia. Nascimento, Tatinge the directed 2nd edition). He 2006; 2014, (Routledge, Harvie co-written with Jen and Performance, (2006–09). [email protected] Project Grotowski British Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_r_00380 by guest on 24 September 2021 In addition to close readings, Great Lengths engages large swaths of theatre history and per- formance criticism. The chapters provide insights and provocations on diverse topics, including the role of the auteur director in Germany (Faust), the limitations of identity politics–based crit- icism (Mahabharata and Angels), the relationship of elite and popular culture (Nickleby), the role of image, sound, and time in making meaning (Einstein), and the fascinating existential implica- tions of lists (Forced Entertainment). The book usefully provides ways of thinking about mara- thon theatre as a whole: the genre favors unusual theatrical locations; offers “rare and precious experiences of sustained meditation” (2); springs from a long history in festival environments, which foster active communal engagement; and is more popular during the summer (Kalb notes that France’s Avignon Festival regularly premieres marathon works), when we “long to lose ourselves in elaborate and epic story arcs [...] and ponder quixotic concepts of the monumen- tal” (16). His production analyses inspire fresh ideas on topics such as double-casting, political theatre and Brecht’s legacy, and the nature of theatricality. Underlying his historical and critical arguments are Kalb’s beliefs that marathon performance can connect us with theatre’s most dis- tinctive abilities, and that theatre is a vital site of meditation and community — sites he believes are increasingly rare in the contemporary world. Images of tired, uncomfortable, and transported bodies recur throughout Great Lengths, and Kalb makes a strong case for the uniqueness of live performance by his direct engagement with its material conditions. (It is telling that the only piece he confesses he got nearly incur- ably frustrated with is the one he watched on his computer.) Spectators are “breaking bread together” in “impromptu communit[ies]” (1), experiencing “paradoxically invigorating fatigue” (44), dozing off, and sharing their exaltation during dinner breaks. Meanwhile, the perform- ers’ bodies are literally making meaning through their exertions: in The Mahabharata, “over many hours, their sweating, breathing, and flexing became a poignant, tactile trope for the per- severance of mortal bodies” (63); for Forced Entertainment, “the length of the pieces reflects a hubristic grasp at omniscience, whose destined failure is uncommonly moving because of the literal spectacle of mortal exhaustion in them” (157). These “endurance feats” for audiences and performers create “an uncommon sense of public communion” (2), which Kalb sees as one of marathon theatre’s most signal accomplishments. Having seen only one of the discussed productions (Einstein), I gratefully devoured Kalb’s vivid descriptions of these unwieldy performances — his crystalline prose reflects decades of the- atre criticism written for a non-academic readership. The chapter on Forced Entertainment in particular (which made me long to see their work), elucidated how three or five performers improvising in “a rather brutal endurance trial” (139) could continually keep lines of commu- nication busy between the tiny and trite and the abstract and grandiose. Speaking of Quizoola!, Kalb writes that the performance’s six-hour question-and-answer session was “an absurdly omnibus attempt to limn an entire world” (141), and their massive questions list “a test of their human depth” (139). Kalb reads a Beckettian sympathy onto the actors as, over the hours, phys- ical weakness undercut arrogance. Kalb’s discussion of Forced Entertainment’s work functions as a summa, in a way, of all mar- athon performance: Faustian ambitions, mortal limitations, and exhilaration in effort. Marathon performance may be the opposite of humble, but it is always, he argues, checked by theatre’s “ephemerality” (190) and the material limitations of its performers. The elation of the pieces lies in the creation of what Hans-Thies Lehmann calls Welt-Fülle (fullness of world): “empires of thought and matter — wide and inexhaustible, endless in their varying aspects, from those encompassing the world to the most banal” (Kalb citing Lehmann; 191). Great Lengths, mak- ing a familiar world of performance and criticism newly particular and also suddenly vast and strange — opening “empires of thought and matter” — itself achieves the critical equivalent of the “mayfly effect” through a personal and profound exploration of our yearning for meaning, community, and spirituality in an atomized, secular age.

— Kimberly Jannarone Books

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Kate Davy’s clever choice of title signals that her book focuses on the following: WOW col- WOW that her book focuses on the following: Kate Davy’s clever choice of title signals Davy drew from her own memo- In addition to combing through two incomplete archives, Davy. Ann Arbor: University of Michigan Press, 2011; 264 pp.; 2011; University of Michigan Press, Arbor: Ann Davy. paper. $26.95 illustrations. at the the Unimaginable Staging and Lesbian Brothers: Dicks Lady is a landmark critical study about how one Theatre Café WOW lesbian, feminist, evolving community theatre revolutionized Following the success of two and queer performance practices. in 1980 and 1981, international women’s theatre festivals held its doors in 1982 Café (as it was known then) opened WOW the As an arts City’s Lower East Side. York in a storefront on New was instrumental in the early careers of WOW organization, Tropicana Carmelita former members such as Holly Hughes, of the Split Britches Company and members Troyano), (Alina Its influence on and Deb Margolin). Peggy Shaw, Weaver, (Lois writing on feminist theatre and performance studies scholars butch/femme role- ethnicity, LGBT history, and queer theory, It overestimated. and gender performativity is indisputable and cannot be camp, drag, playing, theatre American women’s and transpeople’s continues to thrive as one of the longest-running factory. collectives in a space that once housed a doll its cul- WOW), Lesbian Brothers got its start at lective’s members (the theatre troupe Five and its distinct aesthetic is the title of a 1984 play by Hughes), Dick tural production (The Lady and lesbian sensibili- desire, female contradiction, parody, style with its emphasis on humor, was beset WOW Early in the preface Davy makes the startling admission that writing on ties. disorganization, WOW’s no artistic director or organizational hierarchy, With with challenges. over three and anarchical tendencies thwarted the efforts of many scholars poor record keeping, “inspired messiness,” WOW’s Davy found aesthetic strength in however, her credit, To decades. “an longevity can be attributed to its organizational strategies as well as WOW’s asserting that Reading Davy’s (3). abiding sense of tumult combined with desires released from constraint” consensual decision-making, DIY work ethic, members’ enthusiasm, WOW descriptions of evening meet- Tuesday weekly WOW’s and solidarity (one can join the collective by attending I could not help but think that the book’s ings and participate by volunteering) was a revelation. studies as it potential readership exceeds the disciplinary purviews of theatre and performance cultures. offers a provocative case history to those researching anarchical and participatory perfor- WOW and discussing insightfully numerous describing vividly ries and documentation, WOW She also conducted dozens of interviews with mances she attended from 1985 to 1993. collective WOW former and her sister, colleagues, audience members, playwrights, performers, Lady Dicks and Lesbian Brothers: Staging the Staging the Lesbian Brothers: and Lady Dicks Theatre. Café WOW at the Unimaginable TDR: The Drama Review 58:3 (T223) Fall 2014. ©2014 Review 58:3 (T223) TDR: The Drama Technology of Institute and the Massachusetts University York New including the 2013 multimedia, internationalincluding the Kimberly Jannarone is Professor of Theater Arts and Digital Arts and New Media at the University of University at the Media New ArtsArts and Digital and of Theater is Professor Kimberly Jannarone Artaud book Jannarone’s Chair. Memorial she holds the GaryD. Licker where Cruz, California, Santa Callaway A. for the Joe Mention won Honorable 2010) Press, of Michigan (University Doubles and His and of and the Invention Tradition History, Performance, include Mass books Forthcoming Prize. Left and Right. Beyond Performance Vanguard Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_r_00380 by guest on 24 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_r_00380 by guest on 24 September 2021

182 Books texts — as wellitsparadigm-shiftingtheatreandperformances. WOW, itsperformers, anditsproductionhistories — in otherwords, itsperformancecon- arly achievement. Lady Dicks andLesbianBrothers leavesthereaderdesiringtoknowmoreabout from 1981to2010. The appendix, while somewhat incomplete, isinitselfaremarkableschol- on East4thStreetby2005. Davyincludesanappendix thatlists WOW’s productionhistory note withdetailsonhow WOW permanentlysecureditscurrentfourth-floor walk-upspace Carmelita Tropicana andtheFiveLesbianBrothers. Herdiscussionconcludesonatriumphant color from WOW duringthe1980s, beforeanalyzinghowwhiteness wasperformedinplaysby the Ridiculousforfirsttimein1973. pares herexperiencesthatnightwithresponsetoattendingCharlesLudlam’s Theatre of she “entered anewlyopenedspaceinrepresentation” (131). To underscoreherpointshecom- of womenwastakenforgranted — indifferent tothecategory Davyboldlyclaimsthat ‘man’” Michael Kirbyandpublishedinthespringof1985(TDR21:1[T105]). Struckbyhow “a world one nightforaspecialTDRissueontheearly’80sEast Village clubscenethatwaseditedby their aestheticinfluence. Inchapter5Davyrecountswitnessingtwo WOW performancesin Camhe andMark’sjointexit, enabling Weaver andShawtofocusonperformancewield Café Theatre. Conflictingvisionsover WOW’s purposeamongitsfoundersquicklyledto cultural memory. memory withitstendencytoeludewhatcannotbesubsumedneatlyintothegrandnarrativesof Flamboyant LadiesillustrateperformancescholarJosephRoach’s(1996)theoryofcollective ment thatthetrailblazing, albeitlargelyunacknowledgedworkofCamhe, Mark, Torr, andthe not necessarilymeetall WOW Festivalspectators’approval. Davysetsforthapersuasiveargu- other notable WOW FestivalperformerssuchasDiane Torr andtheFlamboyantLadiesdid fact theyanticipatedbothqueersensibilitiesandthirdwavefeminism. The eroticdisplaysof types oflesbians’putativelackfashionsenseandhumorduringthe1970s’80swhenin ple, Camhe’sglamorouscostumesandMark’sdragcabaretchallengedprevailingstereo- WOW’s beginnings minimalizeorevenomitaltogetherimportantcontributions. Forexam- movement, the1980sfeministsexwars, andqueerhistory. Shenotesthatexistingaccountsof women —visible onstage. as WOW foundersandmemberssoughttomakewomen’sdesires — including thoseforother argues thatwhile WOW wasfeministanddiversefromthestart, italsovalorizedlesbianism tant, sometimesoverlappinggroups:womenofcolor, feminists, anddragqueens” (29). Davy women wereinformedbytheaestheticsandsensibilitiesofworkproducedthreeimpor- festivals withoutanypublicfundingorinstitutionalsupport. According toDavy, “the four ists PamelaCamheandJordyMarkteamedupwith Weaver andShawtoorganizetwo WOW Kron, thefirst WOW veterantomakeitBroadway. Inchapter2sherecountshowart- ple, Davyintroduces WOW inchapter1bydiscussingthesuccessandartisticprocessofLisa that WOW isnotjustaboutitstwomostcelebratedstars, Shawand Weaver. Forexam- makes sensethatherhistoricalaccountemphasizes WOW’s originsandearlyyears. member andfoundingLesbianBrother, BabsDavy. Givenhersourcesandmethodologies, it Roach, Joseph. 1996. CitiesoftheDead:Circum-AtlanticPerformance . New York: ColumbiaUniversity Press. Davy, Kate. 1985. “ References In chapter6, Davyalltoobrieflygrappleswiththereasons fortheexodusbywomenof Chapter 4providesarevealingaccountofhow WOW festivalstransitionedtothe WOW In chapter3Davysetstherecordstraightregarding WOW’s connectionstothewomen’s Davy takesanegalitarianapproachinherdiscussionof WOW’s keyplayersasiftosay Heart oftheScorpionat WOW Café.” TDR 29, 1:52–56. —Tanya Augsburg Books 183 blind: By Ann Arbor: Brandi Wilkins Catanese.

The stakes are made clear at the outset: if the “racial etiquette” of the United States has “racial etiquette” the The stakes are made clear at the outset: if between Chapter 2 takes an extensive look at the 1996/1997 print war and later live debate has been repeatedly deployed as of late, such as in the recent such as in the recent as of late, has been repeatedly deployed Meanwhile, on affirmative action. Supreme Court decision when asked his opinion on Texas, in Governor Rick Perry “the justice system is declared: Martin verdict, Trayvon the On the contrary, This term is not innocuous. color-blind.” “prob- the DuBoisian Catanese declares, Wilkins as Brandi “color- but rather the of the 21st century is not race, lem” those who wish to disavow the continued material manifes- those who wish to disavow the continued her carefully argued The In (6). tations of race in our society” of and the Politics Transgression Problem of the Color[blind]: Racial Catanese probes the ineluctable link between , Performance Black from Award Hill for the Errol Runner-up States (3). blackness and performance in the United in order argues that, Catanese’s study importantly Research, Theatre American Society for the types of but interrelated, we must pay equal attention to two different, to understand this link, culture and the more commonplace forms of behavior: performance in the realm of expressive “doing.” or otherwise) that are also forms of labor (economic, performance is — as the first chapter is titled — “bad manners” made the discussion of race blackness) are pon- “anxieties about race (and in particular, often the medium through which Catanese briefly consid- In this first chapter, 3). (5, and challenged” managed, articulated, dered, narratives through which albeit linked, as two distinct, ers color blindness and multiculturalism from details the persistence of these narratives, She persuasively American-ness. we understand The latter in the realm of aesthetic practice. their appearances in court cases to their recurrence that cross- in which Catanese argues casting, is picked up in a discussion about nontraditional transcen- racial casting often traffics in an erroneous notion of color blindness coupled with resurfaces in Catanese’s discussion of “color blindness-as-transcendence” dence; this trope of “racial In its inattention to the racial rhetoric surrounding President Barack Obama as well (22). one that exposes and studiously avoids as an alternative, “racial transgression” she offers reality,” “fore- and “limits placed upon racial discourse” the faulty frame of transcendence by violating American grounding the possibility of black performance as a transformative practice within 31). 21, (18, culture” and drama critic Robert Brustein about the racial politics of Wilson August the late playwright this debate as a reckoning over cross-racial cast- Catanese skillfully frames American theatre. not only casting theatre are antithetical; color-blind black art and a color-blind Wilson, For ing. threatens the financial livelihood of black theatre (42, but also “produces inauthentic blackness” appeals to a “race-blind aesthetic meritocracy” for a on the other hand, Brustein’s appeals, 39). The University of Michigan Press, 2011; 244 pp. $75.00 cloth, cloth, $75.00 2011; 244 pp. Press, The University of Michigan e-book available. $28.95 paper, — multiculturalism residue of 1990s — This term “Color-blind.” The Problem of the Color[blind]: Racial the Color[blind]: of Problem The of Black and the Politics Transgression Performance. TDR: The Drama Review 58:3 (T223) Fall 2014. ©2014 Fall 2014. ©2014 Review 58:3 (T223) Drama TDR: The Technology of Institute the Massachusetts and University York New Tanya Augsburg is Associate Professor of Creative Arts and Humanities in the Liberal Studies Program at Program Studies in the Liberal Humanities and Arts of Creative is Associate Professor Augsburg Tanya [email protected] University. State Francisco San Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_r_00380 by guest on 24 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_r_00380 by guest on 24 September 2021

184 Books from itssubject — Suzan Lori-Parks’splayVenus — and discussesitinatriptychformat:ashis- Hollywood filmsisnot(color)blind” (74, 88, 74). Chapter4, inaprovocativeturn, takescues impossibility ofthecolor-blind space” theyseektocreate, ultimatelysuggestingthat “love in argues that, despite Washington’s “color-blind success” asablackactor, bothfilmsreveal “the and transgression. Chapter3centersonDenzel Washington inthe1990sfilms pair: theformerfocusesonfailuresofracialtranscendence, whilethelattercentersonracial they alsostrikingly “illuminate theracialideologiesthatthey[aremeantto]defy” (60, 63, 68). draw attentiontothe “racial manners” seekingtoignorethematerialconcernsofblacktheatres, 57). Color-blind castingpractices, sheargues, arenever “innocuous aestheticchoice[s]”:ifthey ignores structuralinequalitiesandthe “complex intersectionsofrace, art, andcommerce” (55, racial transcendencemodel;investedingettingoverrace, hisview, asCatanesemakessalient, New York University andtheMassachusetts Institute of Technology TDR: TheDrama Review 58:3 (T223) Fall 2014.©2014 Press, willbereleased inearly2015. [email protected] Embodied Avatars: of TheArt Black Female , intheSexual CulturesPerformance serieswithNYU Uri McMillan Professor isAssistant ofEnglish attheUniversity LosAngeles. ofCalifornia, His book, within it. readers towardasustaineddialoguewiththeatreandthecomplex racialmeaningsgenerated Embodying Black Experience(2010)andStephanieBatiste’sDarkening Mirrors (2012), directs transcended (156, 172). to contradictions, andstudiouslyavoidatoo-easydesignationofraceas “mere problem” tobe whole — that effortsatracialtransgressionmustengageprivateand (or ratherbecauseof)theshow’sfailuresat “racial sincerity,” itsuggests — like thebookasa agency” andade-emphasison “race asahistoricalproject” (159, 165). Nevertheless, despite “color-blind aspirations” dependatonceonanoveremphasis “the powerofindividual belief inatleastthepossibilityofcolorblindness” thatanimatedBlack. White. authentic blackness,” particularlytheirdiminishment(148–49, 150). Meanwhile, the “implicit blackness inthepublicsphere,” implicitinhiscross-oversuccess, andanxietyover “notions of Cube ispositionedasafiguretothinkthroughcompetingtensions:new “resignificationof vision showin2006, Black. White., inwhichtwofamiliestemporarilyswitchracialidentities. Ice post-race discourses(particularlypostblackness ); andtheshort-livedcontroversialrealitytele- Wetion ofobjectsstudy:IceCubeandhisperformanceinthe2005filmAre There Yet? ; the epistemologicalfoundationsofpresent” (135). valuably demonstrateshowtheatrecaninterveneinabiased “textual past” andaidin “alter[ing] (124, 125). Poeticandstunningmethodologically, thisisthestrongestchapterinbook;it very notionofblackagency” andareimaginingof “black performance’senablingpotential” Catanese interpretsParksasatransgressivefigurewhooffersnuancedinterrogationof “the ory inregardstoSaartjieBaartman, inlieuofahistorythathasfixedandreducedhermeaning, torical document, asliterature, andasashow. Emphasizingculturalperformanceandmem- Catanese, meanwhile, effectivelypositionsthethirdandfourthchaptersasaJanus-faced A multifacetedcontribution, TheProblemoftheColor[blind] , alongsideHarvey Young’s In thefinalchapter, Catanesefirmlymovesintothe21stcenturythroughanamalgama- Devil inaBlueDress andtheocclusionsofinterracialsexualitythathauntthem. Catanese public spheres, beattuned The Pelican Brief is exposed:its —UriMcMillan Books 185 Trevor Paglen — Trevor Introduction by Introduction

, CAE has written the blueprint for CAE has written , Plague and Marching is not only a document of past political practices and interventions, it is a Disturbances is not only a document of past political practices and interventions, Disturbances is an essential document for politically minded students and creative practi-

, is everything that the earlier books, published by the anar- is everything that the earlier books, Disturbances, CAE’s new offering, CAE American periphery. art from the Disturbances is a window into contemporary political from early sound and video performances at Disturbances follows scores of CAE projects, TDR: The Drama Review 58:3 (T223) Fall 2014. ©2014 Review 58:3 (T223) TDR: The Drama Technology of Institute and the Massachusetts University York New Critical Art Ensemble: Disturbances. Art Ensemble: Critical Brian Holmes. London: Four Corners Books, 2012; 272 pp.; 2012; Corners Books, London: Four Brian Holmes. $40.00 paper. illustrations. writ- more famous for Art Ensemble is probably Critical 1994 The Beginning with their than for making art. ing books a steadily growing CAE has produced , Electronic Disturbance and rigor, offerings whose prescience, oeuvre of pamphlet-sized required reading for generations of art- readability make them In short texts like Electronic digital activists. and students, ists, The Molecular Digital Resistance, Machine, Flesh Civil Disobedience, Invasion, docu- It’s a 270-page full-color monograph/scrapbook/reader aren’t. Autonomedia press, chist public interventions, multimedia installations, menting nearly three decades of performances, it is an essential As such, and even a cookbook. hoaxes, workshops, exhibitions, provocations, Disturbances functions as both a familiar books. and long overdue counterpart to CAE’s more American politi- of centric chronicle York as a non–New and by extension, history of the group, foibles and mis- and as a catalog of CAE’s attempts to put its own theories into practice, cal art, steps and all. Florida, Tallahassee, but began as a group of students from Angeles or Los York isn’t from New “was the idea explains, CAE institutions at that time,” “Entrenched in educational in the 1980s. manifested through the filter of aesthetic genius. that art was a gesture of individual expression The first was that we could not figure out had two major problems with these assumptions. We would be of interest to anyone else but the person why someone’s individual artistic expression was the exclusionary clause about artists having to be producing it [...A]n even bigger problem (19). That principle left us out” geniuses. through public inter- Mississippi, and Jacksonville, Florida, Tallahassee, clubs and storefronts in Japan) to and Kyoto, UK, cigarettes in Sheffield, ventions (such as giving away free beer and weapons experiments on Isle of Lewis and set- more recent projects (re-interpreting chemical Disturbances is not only a catalog of As such, Germany). in Halle, “dirty-bombs” ting off mock and paradigms of art-making forms, to approaches, it is also a guide the group’s tireless output, As such, that often completely eschew the white cubes and static walls of galleries and museums. perhaps more and, it is an indispensable resource to anyone interested in the group’s history, In in general. it serves as a kind of dictionary or guide to critical creative practices importantly, sum, tioners. guide to the future. Anonymous and Wikileaks-style internet activism while a young Wikileaks-style Anonymous and as telecommunications infrastructures Assange probed Julian Despite Anons were still in diapers. of the and most “Mendax” seem its collective output doesn’t CAE’s name, in “art” the word art gallery or contemporary art with the objects one would find in an to have anything to do and there cube, is a whole lot bigger than any white CAE’s world — And no one cares museum. is a lot more at stake. Trevor Paglen is an artist. [email protected] Paglen Trevor Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_r_00380 by guest on 24 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_r_00380 by guest on 24 September 2021

186 Books of OppressionandResistance” (chapter8), forexample, picksupthewriting ofPauloFreirein tional theory, literature, criticalracetheory, poetry, andpsychoanalysis. Hischapter “Cultures we wouldexpecttoseehere, Wangh enliststheworkofscholarsfrom fields ofeduca- cula. InadditiontoGrotowski, Stanislavsky, Hagen, andother actors/performerswhosewords who teachtheatrehistory, dramaticliterature, oranyclassofferedwithinperforming artscurri- Experimental Theatre Wing, Emerson, andNeuropa canalsoprovokethoughtforthoseofus for actorscanleadtocreativedead-endsandteachers ossify intoastultifyingpedagogy. students andhimselffromstaticthinkingtheatrophying effects ofhabitualbehavior, which uations inordertoproposemethodsforharnessingthepower foundthereandtoliberatehis purely descriptiveautobiography. As ineachchapter, hisgoalistoleapintothethorniestofsit- speaks truthfullyabouthisownwrestlingboutswith physical exercisesaimtounleashtheimpulsesofyoungactors. Here, Wangh isathisbestashe transference andcounter-transference (alsodiscussed inchapter7)commontoclasseswhich stifling students’desirestolearnforthemselves. “Erosetcharitas” (chapter9)addressestheerotic provides suggestionsfordevelopingacriticalpedagogicalexchange intheclassroomwithout lenge oflisteningandrespondingtostudents’problemsresistances. “Feedback” (chapter5) essary taskforactorsoflisteningtoeachotherduringsceneworkaswelltheteacher’schal- directing, improvisation, andmovementteachers. “Listening” (chapter4)investigatesthenec- ations, memories, andimpulsesthatwouldopenustoourselves” (16). asking questions(seeespeciallychapter2), or “searching withone’sfullbodyforimages, associ- still benefitfrom Wangh’s examples, primarilyinsofarastheyallillustrateaspecificprocessof naiveté” (15). Teachers withoutaGrotowskianphysicalortheoreticalvocabulary, however, will itive attitudetowardteachingandourstudents, anattitudeofinquiry, ofopennessand collection ofskillsbutaneradicationblocks” (11). Wangh insists, however, thatthisis “a pos- ing intheshiftingsandsofvianegativa, Grotowski’sphilosophicalfirstprinciple, “nota scene study, monologuework, andphysicalactingtraining. struggle annuallywiththeactsoftransferenceandcounter-transference unfoldingthrough point. Wangh hascultivateda “way won’t beabletotransferhisinsightsdirectlyintotheirteachingpractices, butthat’snotthe table reflectionon Wangh’s manyyearsofteachingandperformingexperience. Otherteachers True tohiswordsfrom thepreface, Wangh’s reportsfromtheactingclassroomsofNYU’s The titlesofallthechapterscorresponddirectlytoconcernsandquestionsacting, As readersofhisearlierAn Acrobat oftheHeart(2000)willknow, Wangh groundshisteach- list orhow-tomanualbut, rather, asablunt, honest, andchari- this bookcontainsvaluableinsights, notintheformofacheck- able?) travailsofteaching” (xiii). Foractingteachers, nodoubt, ciplines, aboutthejoys, thefears, andtheunspoken(unspeak- a discussionamongteachersofperformanceandotherdis- tive prosethatfollowsit. placement setsthekeysignatureformindfulandprovoca- impossible idealsthisquotationmayconjureinsomeofus, its selves.” Despitethedeepsighsorburdensomedebtof unresolved inyourheartandtrytolovethequestionsthem- graph fromRainerMariaRilke: “Be patienttowardallthatis Stephen Wangh’s pedagogicalreflectionsbeginwithanepi- e-book available. York: Routledge, 2013;162pp. $120.00cloth, $43.95paper, in thePerforming Arts. The Heart of Teaching: Empowering Students In Wangh’s ownwords, “The purposeofthisbookistoopen of teaching” (xi)thatprovideslinesofsightforallwho eros intheclassroom, withoutindulgingin ByStephen Wangh. New Books 187 incorporation — Will Will — Daddario Theatre Topics, Theatre , Manifesto Now! Now! Manifesto Performance Research Performance , (Intellect Press, 2013) and has published articles 2013) and has published in Press, (Intellect . [email protected] The Journal of Dramatic TheoryCriticism Journal of and The By Adria L. Imada. Durham, North Carolina: Duke North Durham, Imada. Adria L. By

Review: The Journal of DramaturgyJournal of The Review: Imada productively utilizes several methodologies that draw As someone who experienced Wangh’s teaching firsthand as an undergraduate acting stu- teaching firsthand Wangh’s As someone who experienced from an overlapping hula archive and repertoire. She uses tra- from an overlapping hula archive and repertoire. eth- ditional archival sources like newspapers and military films, along with personal nographic fieldwork and oral histories, This combination of approaches memorabilia and photographs. knowledges and move- “bring these subjugated allows Imada to The author’s stylistic writing choices also promote Hawaiian knowl- (22). ments into view” of hula and edge because she primarily uses Hawaiian terms to refer to the different categories readers must continually adjust to new language terms, Non-Hawaiian other cultural practices. Imada’s American context. engaging the text and its topic as decentered from an University Press, 2012; 392 pp.; illustrations. $89.95 cloth, $89.95 cloth, 2012; 392 pp.; illustrations. University Press, e-book available. $24.95 paper, are Hawaiian icons often “hula girl” and the “luaus,” “Aloha,” In America’s paradise. identified as essential representations of Imada examines the complex Adria L. Aloha America, her book, from col- representations of Hawai‘i as the region transitioned touring circuits of hula Focusing on the ony to territory to state. became legible to Imada explores the ways Hawai‘i dancers, Americans and was incorporated into their vernacular culture. Aloha America: Hula Circuits Through the U.S. the U.S. Through America: Hula Circuits Aloha Empire. TDR: The Drama Review 58:3 (T223) Fall 2014. ©2014 Review 58:3 (T223) TDR: The Drama Technology of Institute and the Massachusetts University York New dent and having since dedicated myself to theatre historiography and performance studies, I studies, and performance dedicated myself to theatre historiography dent and having since . Teaching within The Heart of in the pedagogical philosophy expressed found a strong resonance discusses will Wangh tactics the scenarios and and surprising, Simultaneously recognizable experimenting with the art teachers to continue playing and challenge new and seasoned of pedagogy. University. State Illinois Dance at and in the School of Theatre is Assistant Professor Daddario Will Philosophy Performance collective international, of the convener interdisciplinary research is a core He of Laura Cull is coeditor with He (http://performancephilosophy.ning.com). Politics Philosophy, for Performance, Instructions , Ecumenica order to dwell on students who, having been victimized by institutionalized racism and other racism and other by institutionalized having been victimized on students who, order to dwell agency by com- who attempt to gain active desire to not learn and exhibit an forces, oppressive discrimination Since oppression and pedagogical strategies. the most inclusive batting even reports visceral Wangh’s higher education, the structures of continue to pervade will no doubt about the flows to think self-reflexively of all disciplines can stimulate teachers from his classes are across disciplines valuable for teachers Equally as which we are all enmeshed. of power in the necessity of silence as a teaching (chapter 7), “the student from hell” his considerations of confronted frequently by the the problems of grading within institutions and tool (chapter 13), (afterword). demand for higher enrollment and Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_r_00380 by guest on 24 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_r_00380 by guest on 24 September 2021

188 Books work mostuseful. War II performance, transnationalperformancecircuits, andcosmopolitanismwillfindthis postcolonial sitesandperformances, participatoryethnography, midwayperformances, World and bibliographywillaidinreaders’engagementwiththetext. Scholarswhoareinterestedin commodification ofhulaandtheperformers’potentialforsubversive acts. Theglossary, index, tos areusedthroughoutAlohaAmericatosupportImada’sargumentsaboutthesimultaneous the commodificationofHawaiiancultureby American audiences. Severalblack-and-whitepho- by drawingconnectionsbetweenperformerswhoparticipated inthetouringhulacircuitsand colonizing USmilitary. militaristic inversionwhereHawai‘iwasforcedtorepeatedly perform asthewillinghostto musician positions. Chapter5, “The Troupes Meetthe Troops,” turnstotheluauasasiteof with womenprimarilyservingasdancers, whilethemen filledthemoresociallyacceptable 20th-century glamour. Performers’roleswerehighlygenderedthroughoutthehistoryofhula, the HawaiianRoomasastepping-stoneintoentertainmentbusinessandanaccesspointto York’s HawaiianRoomlocatedintheHotelLexington. DancerslikePualaniMossmanused bandleader inthe1930sand’40s, whoorganizedhulatoursandcastfemaledancersforNew nameless andsemi-forgottenactors. democratic mayor’swife(40). Otherperformerswhodancedathersideenterthishistoryas achieved recognitionlaterinlifeboth “as aculturalauthorityinherownright” andasthefirst however, itisimportanttonotethatKapahukulaokama¯malu persistsinthearchivebecauseshe timeline followsKapahukulaokama¯malu becausesheparticipatedinsomeoftheearliesttours; formers isbothrepresentationaloftheirtimesandanexceptionalcase. MostofImada’searly Kapahukulaokama tality. ImadatracesthishistorythroughseveralkeyHawaiianperformersincluding, Kini hula becameubiquitousandluauscametorepresenttheever-welcoming Hawaiianhospi- jump forwardinchapters4and5totheyearsprecedingfollowing World War IIwhen ing popularityofhulaintheUnitedStatesatturncentury, andconcludingwitha dancing asaculturalpractice, movingoninchapters2and3totheintroductionincreas- able to them. mote Hawaiianculture, butalsoprovidedtheperformerswithexperiencesotherwiseunattain- because theirpresenceinandtravelacrosstheUnitedStatesnotonlyallowedthemtopro- Imada emphasizestheperformers’cosmopolitanpursuitsasoneoftheircounter-colonial acts formed aunique “Hawaiian cosmopolitanism” astheytouredacrosstheUnitedStates(19). “unexpected places,” theHawaiianperformerssimilarlydisruptedmodernlandscapesandper- they literally “played Hawaiian” on American stages. JustasNative Americans werefound in hula entertainerswhosimultaneouslyreinforcedandchallengedHawaiiancommodificationas and studies (24). interlocutors isasintimateandcomplexthecolonialpostcolonialculturalpracticesshe position as “a hulasister, aha¯nai (adopted)niece,” whosegenealogyand relationshiptoher of aglossaryHawaiiantermsisultimatelysuccessfulandinfluencedbyherethnographic mance. Similarly, chapter4, ker organizinghulatoursandstraddlingthelinesbetweenpolitics, economics, andperfor- third chapter, “Impresarios ontheMidway,” exploresJohnny Wilson’s roleasaculturalbro- Aloha America Kapahukulaokama Aloha America This workisinconversationwithPhilipJ. Deloria’sbooksIndiansinUnexpectedPlaces(2006) Playing Indian(1999). ImadaexpandsDeloria’sconceptof “playing Indian” toincludethe is aninsightfulworkthatpushesagainstcolonialandpostcolonial narratives is looselychronological, firstexploringthelate-19th-centuryrevivalofhula ¯malu, Johnny Wilson,¯malu, RayKinney, andPualaniMossman. Eachoftheseper- ¯malu’s hulanarrativeispresentinthefirstthreechapters, butthe ¯malu’s “‘ Hula Queens’and turnstoRayKinney,‘Cinderellas’” aHawaiian —ElizabethMelton Books 189 Edited by Edited by Frank J. Korom. Korom. Edited by Frank J. By Marlon M. Bailey. Ann Arbor: University of Michigan Press, 2013; 296 pp.; Press, Arbor: University of Michigan Ann Bailey. By Marlon M.

Laura Cull and Will Daddario. Bristol: Intellect Ltd., 2013; 243 pp.; illustrations. $57.00 cloth, cloth, $57.00 2013; 243 pp.; illustrations. Bristol: Intellect Ltd., Daddario. Will Laura Cull and e-book available. the title Manifesto Now! is meant Daddario note in their introduction, Will As Laura Cull and status of the manifesto (a form other- to do two things: draw attention to the contemporary command and function as a direct early 20th century), wise associated with Modernism and the the For Cull and Daddario, performs a substantial amount of affective labor. in its brevity, that, and possesses a com- and politics, philosophy, manifesto sits at the intersection of performance, “now.” to bring the future into the present time of plex relationship to temporality in its desire doing: art- the book’s structure eschews the binary between thinking and Like the manifesto, of these Each “analogues.” and scholars are brought together in five different activists, ists, each text analogues pairs one scholarly essay and one manifesto; while not in direct dialogue, These analogues cover top- transforming the meaning of both in some way. speaks to the other, alternative pedago- Dušan Makavejev, Art Collective, the Freee ics such as performance protest, and the non-human. immanence and transcendence, gies, illustrations. $85.00 cloth, $32.50 paper, e-book available. available. e-book $32.50 paper, cloth, $85.00 illustrations. Bailey situates contempo- study of Detroit’s Ballroom culture, In this immersive ethnographic black LGBT community within the context of rary everyday performance practices of Detroit’s and Detroit labor history. the HIV/AIDS epidemic, the community’s earlier cultural practices, high rates of often marginalized by — community Bailey argues that members of the Ballroom of labor through the performance challenge traditional understandings — under/unemployment they not only revise ideas In so doing, communities. of a cultural labor that helps sustain their Ballroom cul- but how families and worlds are to be created: of how gender is to be performed, Bailey that serve as alternative kinship structures. “houses” ture is organized around a series of together with first-person ethnography and personal weaves insights drawn from queer theory the culture, Chapters explore the gender and kinship systems of Detroit Ballroom interviews. and the community’s response to the HIV/AIDS crisis. ball events themselves, The Anthropology of Performance: A Reader. A Reader. of Performance: Anthropology The Manifesto Now!: Instructions for Performance, Philosophy, Politics. Politics. Philosophy, Manifesto Now!: Instructions for Performance,

Butch Queens Up in Pumps: Gender, Performance, and Ballroom Culture Culture and Ballroom Performance, Up in Pumps: Gender, Queens Butch in Detroit. More Books More TDR: The Drama Review 58:3 (T223) Fall 2014. ©2014 Fall 2014. ©2014 Review 58:3 (T223) Drama TDR: The Technology of Institute the Massachusetts and University York New Elizabeth Melton is a doctoral student in the Department of Communication Studies at The University University at The Studies student in the Department is a doctoral of Communication Melton Elizabeth through of cosmopolitanism focuses on the production research Her at Chapel Hill. Carolina of North performances. of touring circuits [email protected] West Sussex: Wiley-Blackwell, 2013; 304 pp.; illustrations. $99.95 cloth, $49.95 paper, $49.95 paper, $99.95 cloth, 2013; 304 pp.; illustrations. Wiley-Blackwell, Sussex: West e-book available. This carefully curated reader brings together 20 essays written over the past 50 years In his that explore the rich connections between anthropology and performance studies. Korom provides a brief theoretical and historical overview of editor Frank J. introduction, Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_r_00380 by guest on 24 September 2021 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/DRAM_r_00380 by guest on 24 September 2021

190 Books Brown andMerceCunningham), andaQ&AbetweenStrebSmith. (Streb’s workisasindebtedtoEvilKnievelandFrank “Cannonball” Richardsasitisto Trisha of timeandspace. The bookendswithtwoappendices:theactionheroeswhoinfluencedher ment technique, whichshecalls “PopAction,” heractionmachines, andthewaysshemakesuse “Time,” “Motion,” and “The RealMove”)whereinshedescribes herformaltraining, hermove- of herdancecompanySTREB. Shethendividesthebookintofivesections(“Body,” “Space,” lines herchildhoodinterestinmovement, hermovetoNew York inthe1970s, andthebirth Anna DeavereSmithandanintroductionbyPeggyPhelan. In “In theBeginning,” Strebout- memoir withcompanyhistoryandtheoreticaltreatise. The bookopenswithaforewordby science anddancewithdaredevilry — Streb’s booktakesahybridform, combiningpersonal prised bythenewwaysdancersmove. Likeherchoreography — which marriesartwith the limitsofbodyinsuchawaythataudience, too, isneverpassive, butalwayssur- Elizabeth Strebisachoreographerinterestedinextremeaction — that is, actionthattests The FeministPress, 2010;144pp.;illustrations. $18.95paper. of Communities,” and “Tourist PerformancesandtheGlobalEcumene.” Performance,” “Ritual, Drama, andPublicSpectacle,” “Performance andPoliticsintheMaking are dividedintofivesections: “PerformanceinPrehistoryand Antiquity,” “Verbal Genresof tributions fromRogerD. Abrahams, RosemarieK. Bank, andRichardBauman. The essays approaches arerepresentedwithintheessaysthatcomprisethisvolume, whichincludescon- of praxis, communalandculturaldisplayenactment, andoralpoetics. All threeofthese tinct waysthatscholarshaveapproachedthestudyofperformance:throughMarxistnotions humanities andsocialsciences. FollowingJ.E. LimónandM.J. Young, hedelineatesthreedis- performance-focusedanthropologicalresearch, whichhesituatesatthenexusbetween New York University andtheMassachusetts Institute of Technology TDR: TheDrama Review 58:3 (T223) Fall 2014.©2014 mind under duress. explores thedramasofrisk(crimeserials, adventures, andsciencefiction)thatexhibitedthe signals andtransmissionstolinktheindividualpersonvast communicationsystems. Part3 lying Depression-eraperformances. Part2exploreshow WWII-era radiodramaemployed scopic” perspectivethataccountedforthedoublerhetoric ofempathyandegalitarianismunder- graphs anddiagrams. Part1exploreshowsonictechniques createdan “intimate” and “kaleido- together closereadingsofplayswith “distant readings” ofprogramsandmakesjudicioususe sciousness inthewayittheorizedinterioritythroughcontent ofitsplays. This bookbrings sion laterwouldnot, butthatitalsobecame “about themind,” linkingmassmediaandcon- was notonly “of themind” inthatitengagedthe imaginativefacultiesinawaythattelevi- the firstin-depththeorizationofaestheticsradiodrama. Verma arguesthatradiodrama ical idiomusedtodescribemid-centuryradiodramaintoaheuristic. Intheprocess, heoffers In thisbook, Neil Verma setsouttoturnthephrase “theater ofthemind” fromamerehistor- e-book available. By Neil Verma. Chicago:UniversityofChicagoPress, 2012;296pp.;illustrations. $31.00paper, Theater oftheMind:Imagination, Aesthetics, and American RadioDrama. STREB: HowtoBecomeanExtreme Action Hero. ByElizabethStreb. New York: —ElizabethWiet