Donatella Galella, Editor Building Character: The Art and Science of Casting By Amy Cook Reviewed by Ariel Nereson Latinx Theater in the Times of Neoliberalism By Patricia A. Ybarra Reviewed by Trevor Boffone The Late Work of Sam Shepard By Shannon Blake Skelton Reviewed by Carol Westcamp Disability Theatre and […]
Yearly Archives: 2018
23 posts
If you would like to write a review for JADT, please contact our current book review editor Donatella Galella at galella@ucr.edu. If you know of a book that would be suitable for review in JADT, please mail a copy to the Editors, JADT/Martin E. Segal Theatre Center, CUNY Graduate Center, […]
Disability Theatre and Modern Drama: Recasting Modernism. Kirsty Johnston. London: Bloomsbury Methuen Drama, 2016; Pp. 240. Kirsty Johnson’s Disability Theatre and Modern Drama: Recasting Modernism is an invaluable resource. Having previously written Stage Turns: Canadian Disability Theatre, Johnston offers in her latest book an impressive range of approaches to disability […]
The Late Work of Sam Shepard. Shannon Blake Skelton. New York: Bloomsbury, 2016; Pp. 256. The Late Work of Sam Shepard, by Shannon Blake Skelton, brings necessary attention to the later phase of Sam Shepard’s works, including his short prose, plays, acting performances, and screenplays. Previously published scholarship has tended […]
Latinx Theater in the Times of Neoliberalism. Patricia A. Ybarra. Evanston: Northwestern University Press, 2018; Pp. 247. Patricia Ybarra’s Latinx Theater in the Times of Neoliberalism rightly notes that the emergence of Latinx theatre in the 1960s and 70s paralleled the rise of neoliberalism in the Americas. From the beginnings […]
Building Character: The Art and Science of Casting. Amy Cook. Ann Arbor: University of Michigan Press; Pp. 198. Amy Cook’s Building Character: The Art and Science of Casting argues that casting, as artistic practice and necessary strategy for everyday life, is a performative act related to human cognitive tendencies to […]
by Tison Pugh The Journal of American Drama and Theatre Volume 31, Number 1 (Fall 2018) ISNN 2376-4236 ©2018 by Martin E. Segal Theatre Center A relatively new term in the critical lexicon, ludonarratology theorizes the intersection of games and narrative structures in a particularly apt formulation for the theatrical […]
by Courtney Ferriter The Journal of American Drama and Theatre Volume 31, Number 1 (Fall 2018) ISNN 2376-4236 ©2018 by Martin E. Segal Theatre Center In his recent book Democracy in Black (2016), Eddie S. Glaude, Jr. argues that for Americans, “collective forgetting is crucial in determining the kind of […]
by Rachel Merrill Moss and Gary Alan Fine The Journal of American Drama and Theatre Volume 31, Number 1 (Fall 2018) ISNN 2376-4236 ©2018 by Martin E. Segal Theatre Center The night before Independence Day in 1933, something unprecedented occurred.[1] As part of Chicago’s Century of Progress Exposition, “Jewish Day” […]
by Rosa Schneider The Journal of American Drama and Theatre Volume 31, Number 1 (Fall 2018) ISNN 2376-4236 ©2018 by Martin E. Segal Theatre Center A hush falls over the previously raucous crowd as the image projected across the wall of Theatre for a New Audience and onto the bodies […]
by Ira S. Murfin The Journal of American Drama and Theatre Volume 30, Number 2 (Spring 2018) ISNN 2376-4236 ©2018 by Martin E. Segal Theatre Center Spalding Gray’s autobiographical monologues exemplified the affective immediacy of virtuosic first-person storytelling during the 1980s and 1990s, and helped establish a distinct theatrical genre […]
by Christophe Collard The Journal of American Drama and Theatre Volume 30, Number 2 (Spring 2018) ISNN 2376-4236 ©2018 by Martin E. Segal Theatre Center Weary of endlessly scavenging for funding, would-be independent filmmaker John Jesurun decided one day in the early 1980s to make films without using a camera […]
by Johan Callens The Journal of American Drama and Theatre Volume 30, Number 2 (Spring 2018) ISNN 2376-4236 ©2018 by Martin E. Segal Theatre Center For a good understanding, the Spring 2018 American Theatre and Drama Society issue of the Journal of American Drama and Theatre is best considered as […]
by Ellen Gillooly-Kress The Journal of American Drama and Theatre Volume 30, Number 2 (Spring 2018) ISNN 2376-4236 ©2018 by Martin E. Segal Theatre Center Introduction A quiet, yet hopeful group of young people gathered in front of the Museum of the Moving Image in Astoria, Queens on January 22, […]
by Claire Swyzen The Journal of American Drama and Theatre Volume 30, Number 2 (Spring 2018) ISNN 2376-4236 ©2018 by Martin E. Segal Theatre Center “In this software universe, existence finds itself limited to the pulse of the cursor.” — Maïa Bouteillet, Libération[1] In 1991, Brenda Laurel suggested that we […]
The Contemporary American Monologue: Performance and Politics. Eddie Paterson. New York: Methuen, 2015; Pp. 232. The Contemporary American Monologue: Performance and Politics by Eddie Paterson offers comparative analyses of solo performance artists Spalding Grey, Laurie Anderson, Anna Deavere Smith, and Karen Finley. In his introduction, Paterson clearly lays out his […]
Stage for Action: U.S. Social Activist Theatre in the 1940s. Chrystyna Dail. Carbondale: Southern Illinois University Press, 2016; Pp. 194. In Stage for Action: U.S. Social Activist Theatre in the 1940s, Chrystyna Dail reveals a significant piece of theatre history and asserts its rightful place in the canon of American […]
Immersions in Cultural Difference: Tourism, War, Performance. Natalie Alvarez. Ann Arbor: University of Michigan Press, 2018; Pp. 214. Reading Natalie Alvarez’s Immersions in Cultural Difference: Tourism, War, Performance is a fantastic reminder of what theatre and performance studies have to offer during a cultural moment in which “reality” programming is […]
Black Performance on the Outskirts of the Left. Malik Gaines. New York: NYU Press, 2017; Pp. 248. It begins with a bold proposition. In Black Performance on the Outskirts of the Left, scholar-practitioner Malik Gaines suggests that performance is a radical act and that black performances can amend “dominant discourses […]
Samuel Beckett’s Theatre in America: The Legacy of Alan Schneider as Beckett’s American Director. Natka Bianchini. New York: Palgrave Macmillan, 2015; Pp. 204. To discuss the production history of Samuel Beckett’s work in the US is inevitably to begin with Alan Schneider. Schneider directed the American premiere of all twelve […]
