Double Exposure: Plays of the Jewish and Palestinian Diasporas

Double Exposure: Plays of the Jewish and Palestinian Diasporas

Edited by Steven Orlov and Samah Sabawi 533 pp. Toronto: Playwrights Canada Press Reviewed by Mary-Lou Zeitoun* (Canada) From South African protest theatre during the apartheid era to Ireland’s “Theatre of the Troubles,” plays of resistance have always seemed to

Chilean Theatre Season 2017

Chilean Theatre Season 2017

Milena Grass Kleiner* A Very Short Introduction to Chilean Theatre According to local mythology, the first Chilean theatre company was created by Bernardo O’Higgins, the Father of the Nation, who offered freedom to a bunch of Spanish soldiers in exchange

A View from the South: A Cursory Glance at Some Events of the Argentinian Theatrical Landscape

A View from the South: A  Cursory Glance at Some Events of the Argentinian Theatrical Landscape

Halima Tahan Ferreyra* Two exceptional plays, works of micro-theatre and an emerging theatre series are among the theatrical experiences in Buenos Aires which this article alights upon. To those are added festivals and projects which set the theatre agenda throughout

Espaces musicaux pour Marie NDiaye

Espaces musicaux pour Marie NDiaye

Christiane Makward* Mettre un texte en musique est un exercice du fond des âges mais il est question ici, plutôt que de musique au sens habituel, de travail de création sonore pour la scène partant d’un texte et dialoguant diversement

Sounding Out a Theatrical Text: Fool for Love by Sam Shepard

Sounding Out a Theatrical Text: <em>Fool for Love</em> by Sam Shepard

Caroline Schlenker* and Rebecca Guy** We live our lives in boxes. . . . The boxes I’m referring to, as is Sam Shepard in his disturbing, tempestuous play, “Fool for Love,” are the ones that constrict the space between our

Performing the Politics of Sound: Affective Mobilization and the Objectivity of Sonic Energy on the Human Body

Performing the Politics of Sound: Affective Mobilization and the Objectivity of Sonic Energy on the Human Body

Lambros Pigounis* The notion of a “politics of sound” or “micropolitics of noise” refers to processes that seek to intensify frequency vibration as a technique of affective mobilization. On a performative level, the term refers to the transformation of energies

Soundscapes of Narco Silence in U.S.-Mexico Borderlands Performance

Soundscapes of Narco Silence in U.S.-Mexico Borderlands Performance

Marci R. McMahon* Mexican artist Luz María Sánchez’s series detritus—performed in both Mexico City and Houston, Texas (2011-13)—confronts viewers with over 10,000 altered images of narco violence from Mexican media. The images are abundant and projected for two seconds each

Sound in Motion: Bill T. Jones Repurposes John Cage

Sound in Motion: Bill T. Jones Repurposes John Cage

Ariel Nereson* I was alone in the casita, puttering around and listening to John Cage. I decided to sit down at my desk and transcribe what you say. Cage is quoting of the answer Jasper Johns gave to a Swiss

Aural Choreography as Composed Performance

Aural Choreography as Composed Performance

Fabrizio Manco* What I call “aural choreography” is moving by following environmental sounds, it is where the acoustic environment is the choreographer and where movement responses are never exactly immediate and perfectly synchronized with it. One is moved and “composed”

Life and Death—in the Mirror

Life and Death—in the Mirror

Ludmila Patlanjoglu* The Romanian Television (TVR) and The Contemporary Theatre Foundation. Livada de vişini / The Cherry Orchard by Anton Pavlovich Chekhov. Direction: Alexandru Lustig, set design: Dana Moraru, costumes: Silvia Porojnicu (Valeria Seciu’s costumes: Lia Manţoc), director of photography: