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“Ògún Yè Mo Yè!” Pathways For Institutionalizing Black Theater Pedagogy And Production At Historically White Universities, Artisia Green
“Ògún Yè Mo Yè!” Pathways For Institutionalizing Black Theater Pedagogy And Production At Historically White Universities, Artisia Green
Arts & Sciences Articles
Excerpt from the article: "E ku Ose Ogun! At the time of writing, it is a day to venerate the Orisa of iron, mystic vision, destruction, and creation. Ogun, the adaptable, force of will, and road-opening energy, commits to doing difficult but necessary work to bring about transformation..."
Aesthetics Of Oya In Reading, Casting, And Staging Lillian Hellman’S The Children’S Hour, Artisia Green
Aesthetics Of Oya In Reading, Casting, And Staging Lillian Hellman’S The Children’S Hour, Artisia Green
Arts & Sciences Articles
In the eighteen years between the play’s opening at the Maxine Elliot Theatre and 1952, Lillian Hellman’s 1934 version of The Children’s Hour undergoes a dramaturgical evolution. As Hellman evolved as a playwright and queer woman, she revisits the play several times, altering character attributes and modifying content. In Pentimento: A Book of Portraits (1973), Hellman describes this process of revision as pentimento writing, “later choice[s], [are] a way of seeing and then seeing again” (309). Hellman’s amendments were the inspiration for the conceptual approach used in the 2018 William & Mary Theatre production of The Children’s Hour—a framework …
When Folk Dance Was Radical: Cold War Yangge, World Youth Festivals, And Overseas Chinese Leftist Culture In The 1950s And 1960s, Emily E. Wilcox
When Folk Dance Was Radical: Cold War Yangge, World Youth Festivals, And Overseas Chinese Leftist Culture In The 1950s And 1960s, Emily E. Wilcox
Arts & Sciences Articles
This article challenges three common assumptions about Chinese socialist-era dance culture: first, that Mao-era dance rarely circulated internationally and was disconnected from international dance trends; second, that the yangge movement lost momentum in the early years of the People’s Republic of China (PRC); and, third, that the political significance of socialist dance lies in content rather than form. This essay looks at the transformation of wartime yangge into PRC folk dance during the 1950s and 1960s and traces the international circulation of these new dance styles in two contexts: the World Festivals of Youth and Students in Eastern Europe, and …
“The Blood Remember Don’T It?”: The Ethnocultural Dramatic Structure Of Katori Hall’S The Blood Quilt, Artisia Green
“The Blood Remember Don’T It?”: The Ethnocultural Dramatic Structure Of Katori Hall’S The Blood Quilt, Artisia Green
Arts & Sciences Articles
The Yorùbá influenced Ethnocultural Dramatic Structure of Katori Hall’s The Blood Quilt is an example of the enduring philosophical permanence of African aesthetics within the tradition of Black Theatre. Within The Blood Quilt is the manifestation of a Yorùbá traditional divination system and body of orature, the Odù Ifá. Hall acknowledges exploring Yorùbá cultural expressions, yet she refutes any dramaturgical intention to locate the play within the Odù Ifá. Thus, the incarnation of verses of Ifá in the text evidences her belief that a playwright’s consciousness and her work are often phenomenologically informed. This analysis argues that recognizing, understanding, and …
Rulan Chao Pian 卞赵如兰 (1922–2013), Emily E. Wilcox
Rulan Chao Pian 卞赵如兰 (1922–2013), Emily E. Wilcox
Arts & Sciences Articles
Rulan Chao Pian, who taught Chinese and music at Harvard University from 1947 to 1992, was a pioneer in the fields of Chinese Song dynasty musical history and ethnomusicological studies of Peking opera and Sinophone popular performance.
Regina Taylor's Crowns: The Overflow Of "Memories Cupped Under The Brim", Artisia Green
Regina Taylor's Crowns: The Overflow Of "Memories Cupped Under The Brim", Artisia Green
Arts & Sciences Articles
In crossing the cultural border between the North and the South, Yolanda, the main character in Regina Taylor’s Crowns, is sent on both a physical and metaphysical journey that symbolizes the ideology of the Kongo Cosmogram. South Carolina, Yolanda’s landing point and the play’s geographical context, bears multiple implications for the dramaturgy of Crowns. The land is saturated with memories of the African presence due to slave importation patterns within the coastal Sea Islands and low-country post–Civil War settlement by formerly enslaved people of West Africa and the Caribbean. As such Yorùbá aesthetics and theoretical ideas of the self …
Meaning In Movement: Adaptation And The Xiqu Body In Intercultural Chinese Theatre, Emily E. Wilcox
Meaning In Movement: Adaptation And The Xiqu Body In Intercultural Chinese Theatre, Emily E. Wilcox
Arts & Sciences Articles
Zhuli xiaojie (adapted from Strindberg's Miss Julie) and Xin bi tian gao (from Ibsen's Hedda Gabler) are two works in a recent series of intercultural xiqu productions by playwrights William Huizhu Sun and Faye Chunfang Fei. In these works, the xiqu body serves as a medium for theatrical expression, where music, costume, movement, and props come together in a super-expressive acting technique that foregrounds qing (情), or sentiment. In these adaptations, the xiqu body compensates for what is necessarily cut from the text in the transformation from spoken drama to xiqu performance.
Han-Tang Zhongguo Gudianwu And The Problem Of Chineseness In Contemporary Chinese Dance: Sixty Years Of Controversy, Emily E. Wilcox
Han-Tang Zhongguo Gudianwu And The Problem Of Chineseness In Contemporary Chinese Dance: Sixty Years Of Controversy, Emily E. Wilcox
Arts & Sciences Articles
In 1979, after twenty-one years of political reeducation, Chinese classical dance professor Sun Ying (孙颖, 1929—2009) returned to the Beijing Dance Academy to instigate reform in the field of Zhongguo gudianwu, the official national dance form of the People's Republic of China. In creating the Han-Tang style of Zhongguo gudianwu, Sun challenged accepted notions of Chineseness within the field, especially the idea that Chinese indigenous theater, or xiqu, should serve as the primary foundation for a distinctively Chinese national body aesthetic. While Sun's alternative vision of Chineseness produced extensive controversy, this controversy is not antithetical to the historical aims and …