Henry Arthur Jones’s 1884 melodrama Saints and Sinners stretched the boundaries of theatrical permissibility with its novel portrayals of religious practitioners and contemporary religious life, establishing precedents upon which later, better-known plays would expand. Jones’s drama tested the bounds of official religious censorship from the Lord Chamberlain’s Office, and its production served as a key demonstration that the audience’s “Puritan dread of the theatre” – which many playwrights and critics of the age felt was the true limiting factor in the development of British drama – was declining. A close reading of the play’s religious portrayals and an examination of the archival record demonstrates that the laxity with which Jones’s play was treated by the Lord Chamberlain’s Office was exceptional and not at all in line with other plays of the era, thus setting new censorial norms that other dramatists would further stretch. Attending to the ways in which Saints and Sinners used pioneering religious discourses to test the Lord Chamberlain’s and the audience’s limits provides a more thorough understanding of the forces that transformed British theatre at the end of the nineteenth century.
亨利·阿瑟·琼斯（Henry Arthur Jones） 1884年的情节剧《圣徒与罪人》（Saints and罪人）以其对宗教从业者和当代宗教生活的新颖描绘，拓展了戏剧允许的界限，为后来更知名的戏剧奠定了先例。琼斯的戏剧考验了张伯伦勋爵办公室官方宗教审查的界限，它的制作是观众“清教徒对戏剧的恐惧”的关键证明——当时许多剧作家和评论家认为这是英国戏剧发展的真正限制因素——正在下降。仔细阅读剧中的宗教描写和对档案记录的研究表明，张伯伦勋爵办公室对琼斯的戏剧的宽松态度是例外的，与那个时代的其他戏剧完全不一致，从而建立了新的审查规范，其他剧作家将进一步扩展。关注《圣人与罪人》是如何用开创性的宗教话语来考验张伯伦勋爵和观众的极限的，可以让我们更全面地了解19世纪末改变英国戏剧的力量。
{"title":"Challenging the “Puritan Dread of the Theatre”: The Forgotten Legacy of Henry Arthur Jones’s <i>Saints and Sinners</i> (1884)","authors":"Marija Reiff","doi":"10.3138/md-68-1-1264","DOIUrl":"https://doi.org/10.3138/md-68-1-1264","url":null,"abstract":"Henry Arthur Jones’s 1884 melodrama Saints and Sinners stretched the boundaries of theatrical permissibility with its novel portrayals of religious practitioners and contemporary religious life, establishing precedents upon which later, better-known plays would expand. Jones’s drama tested the bounds of official religious censorship from the Lord Chamberlain’s Office, and its production served as a key demonstration that the audience’s “Puritan dread of the theatre” – which many playwrights and critics of the age felt was the true limiting factor in the development of British drama – was declining. A close reading of the play’s religious portrayals and an examination of the archival record demonstrates that the laxity with which Jones’s play was treated by the Lord Chamberlain’s Office was exceptional and not at all in line with other plays of the era, thus setting new censorial norms that other dramatists would further stretch. Attending to the ways in which Saints and Sinners used pioneering religious discourses to test the Lord Chamberlain’s and the audience’s limits provides a more thorough understanding of the forces that transformed British theatre at the end of the nineteenth century.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"68 1","pages":"48-74"},"PeriodicalIF":0.0,"publicationDate":"2025-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"147914809","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Sergio Blanco’s play Tebas Land (2012) is an exploration of his concept of autoficción [self- or autofiction] in which Blanco shows how creative acts like writing and performance reflect the ways that truth and fiction coexist in our understanding of self and other, and in which identities and staged realities are relational rather than binary. The stage functions in Blanco’s work not as a place to arrive at the real reason or motivation for an event or its consequences, or amplify the context for unexplored histories to enter into the dialogue, but rather as a place where truth is always already fiction. Blanco sets up vectors where fact and fiction are constantly made, undone, and remade . Tebas Land features Oedipus’ infamous patricide as its point of departure, and Blanco uses this story to explore familial murder and the ethics of reconstructing it on stage, as well as the feasibility of re-presenting any “real” or performed act as authentic. Blanco toys with frameworks like theatre of the real, nested space and time, the act of watching and being watched, and objects that shift meaning and thereby defy documentary impulses to fix significance to context.
{"title":"Sergio Blanco’s Tebas Land: Staging an Authentic Fiction","authors":"Sarah M. Misemer","doi":"10.3138/md-66-4-1237","DOIUrl":"https://doi.org/10.3138/md-66-4-1237","url":null,"abstract":"Sergio Blanco’s play Tebas Land (2012) is an exploration of his concept of autoficción [self- or autofiction] in which Blanco shows how creative acts like writing and performance reflect the ways that truth and fiction coexist in our understanding of self and other, and in which identities and staged realities are relational rather than binary. The stage functions in Blanco’s work not as a place to arrive at the real reason or motivation for an event or its consequences, or amplify the context for unexplored histories to enter into the dialogue, but rather as a place where truth is always already fiction. Blanco sets up vectors where fact and fiction are constantly made, undone, and remade . Tebas Land features Oedipus’ infamous patricide as its point of departure, and Blanco uses this story to explore familial murder and the ethics of reconstructing it on stage, as well as the feasibility of re-presenting any “real” or performed act as authentic. Blanco toys with frameworks like theatre of the real, nested space and time, the act of watching and being watched, and objects that shift meaning and thereby defy documentary impulses to fix significance to context.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"2 2-4","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139188075","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This volume collects Noël Coward’s comments on his own plays and those of other dramatists, and on the theatre of his time. It features both published and unpublished sources and includes substantive editorial commentary. The work will appeal to readers with an interest in Coward or in twentieth-century British and American theatre.
{"title":"Barry Day, ed. Noël Coward on (and in) Theatre","authors":"Russell Jackson","doi":"10.3138/md-66-4-rev3","DOIUrl":"https://doi.org/10.3138/md-66-4-rev3","url":null,"abstract":"This volume collects Noël Coward’s comments on his own plays and those of other dramatists, and on the theatre of his time. It features both published and unpublished sources and includes substantive editorial commentary. The work will appeal to readers with an interest in Coward or in twentieth-century British and American theatre.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"5 4","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139190519","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This book argues that the origins of the Provincetown Players are to be found in Davenport, Iowa, where Dell, Cook, and Glaspell first encountered formative ideas around feminism, socialism, and free speech. Meticulously researched and original in its approach, it will be of interest to scholars of American theatre and Midwestern history.
{"title":"Marcia Noe. Three Midwestern Playwrights: How Floyd Dell, George Cram Cook, and Susan Glaspell Transformed American Theatre","authors":"Noelia Hernando-Real","doi":"10.3138/md-66-4-rev8","DOIUrl":"https://doi.org/10.3138/md-66-4-rev8","url":null,"abstract":"This book argues that the origins of the Provincetown Players are to be found in Davenport, Iowa, where Dell, Cook, and Glaspell first encountered formative ideas around feminism, socialism, and free speech. Meticulously researched and original in its approach, it will be of interest to scholars of American theatre and Midwestern history.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"15 2","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139195163","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Betty Shamieh’s Roar (2005) and Yussef El Guindi’s Ten Acrobats in an Amazing Leap of Faith (2009) exemplify early twenty-first-century Arab American family dramas that grapple with the intersecting dilemmas of Arab diasporic experience in the United States. Reading the family as a metaphor for the Arab diaspora, I argue that these plays serve as sites of contradiction and negotiation, exploring intra-communal conflicts that stem from differing relationships to homeland, host nation, and community. In this article, I contextualize Shamieh’s and El Guindi’s plays within the long history of Arab Americans navigating US racial frameworks, immigrant sentiment, and systemic bias. I further propose that these family dramas can be read as allegories of a diasporic public, Arab American or otherwise, that imagine ways of responding to the challenges of acculturation and survival in the diaspora.
Betty Shamieh 的《咆哮》（2005 年）和 Yussef El Guindi 的《十个杂技演员的惊人信仰飞跃》（2009 年）是 21 世纪早期阿拉伯裔美国人家庭剧的典范，这些家庭剧努力应对散居美国的阿拉伯人经历中相互交织的困境。我将家庭视为阿拉伯移民社群的隐喻，认为这些戏剧是矛盾和协商的场所，探讨了源于与祖国、东道国和社区的不同关系的族群内部矛盾。在本文中，我将 Shamieh 和 El Guindi 的戏剧置于阿拉伯裔美国人在美国种族框架、移民情绪和系统性偏见中游走的悠久历史之中。我进一步提出，这些家庭剧可以被解读为散居地阿拉伯裔美国人或其他散居地公众的寓言，想象出应对散居地文化适应和生存挑战的方式。
{"title":"Dispute in the Diaspora: Metaphor and Contradiction in Twenty-First-Century Arab American Family Dramas","authors":"Hala Baki","doi":"10.3138/md-66-4-1263","DOIUrl":"https://doi.org/10.3138/md-66-4-1263","url":null,"abstract":"Betty Shamieh’s Roar (2005) and Yussef El Guindi’s Ten Acrobats in an Amazing Leap of Faith (2009) exemplify early twenty-first-century Arab American family dramas that grapple with the intersecting dilemmas of Arab diasporic experience in the United States. Reading the family as a metaphor for the Arab diaspora, I argue that these plays serve as sites of contradiction and negotiation, exploring intra-communal conflicts that stem from differing relationships to homeland, host nation, and community. In this article, I contextualize Shamieh’s and El Guindi’s plays within the long history of Arab Americans navigating US racial frameworks, immigrant sentiment, and systemic bias. I further propose that these family dramas can be read as allegories of a diasporic public, Arab American or otherwise, that imagine ways of responding to the challenges of acculturation and survival in the diaspora.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"301 ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139195512","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-01Epub Date: 2023-06-15DOI: 10.1007/s12070-023-03966-0
Prashant Moon, Girish S Mishra, Jaykumar V Patel
Aim: To study the use of medial sural artery perforator (MSAP) free flap in head and neck reconstruction.
Material and method: This was a prospective study. The patients with cancers of head and neck underwent excision of tumor along with neck dissection, and MSAP free flap was used for reconstruction.
Results: The free MSAP flaps were used in 30 patients to reconstruct head and neck soft tissue defects. There were sixteen male and six female patients with the median age of 40 years. The most common site of tumor resection was the tongue (14 cases), followed by buccal mucosa (12 cases), neck skin(2 cases), skin over parotid(1 case) and lip(1 case). Average flap size was 56 cm2. Thickness of the flap ranged from 4 to 8 mm. The length of the vascular pedicle ranged from 8 to 14 cm (12 cm mean) which provides sufficient length during vessel anastomosis. Arterial diameter ranged from 1.0 to 1.5 mm(Average - 1.25 mm) and venous diameter of both veins in pedicle ranged from 1.5 to 2.5 mm(Average - 2 mm) in size. Most flaps were based on two perforators. Primary closure was attained in 11 cases whereas 19 patients required split thickness skin graft(STSG). The average flap harvesting time was 45 min. Flap was failed in two cases.
Conclusion: MSAP is good alternative to FRAFF in the reconstruction of defect after resection of head and neck cancer.
{"title":"Reconstruction of Head and Neck Defects Using Medial Sural Artery Perforator Free Flap.","authors":"Prashant Moon, Girish S Mishra, Jaykumar V Patel","doi":"10.1007/s12070-023-03966-0","DOIUrl":"10.1007/s12070-023-03966-0","url":null,"abstract":"<p><strong>Aim: </strong>To study the use of medial sural artery perforator (MSAP) free flap in head and neck reconstruction.</p><p><strong>Material and method: </strong>This was a prospective study. The patients with cancers of head and neck underwent excision of tumor along with neck dissection, and MSAP free flap was used for reconstruction.</p><p><strong>Results: </strong>The free MSAP flaps were used in 30 patients to reconstruct head and neck soft tissue defects. There were sixteen male and six female patients with the median age of 40 years. The most common site of tumor resection was the tongue (14 cases), followed by buccal mucosa (12 cases), neck skin(2 cases), skin over parotid(1 case) and lip(1 case). Average flap size was 56 cm<sup>2</sup>. Thickness of the flap ranged from 4 to 8 mm. The length of the vascular pedicle ranged from 8 to 14 cm (12 cm mean) which provides sufficient length during vessel anastomosis. Arterial diameter ranged from 1.0 to 1.5 mm(Average - 1.25 mm) and venous diameter of both veins in pedicle ranged from 1.5 to 2.5 mm(Average - 2 mm) in size. Most flaps were based on two perforators. Primary closure was attained in 11 cases whereas 19 patients required split thickness skin graft(STSG). The average flap harvesting time was 45 min. Flap was failed in two cases.</p><p><strong>Conclusion: </strong>MSAP is good alternative to FRAFF in the reconstruction of defect after resection of head and neck cancer.</p>","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"49 1","pages":"3176-3179"},"PeriodicalIF":0.4,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC10646068/pdf/","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91389473","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Macelle Mahala’s Black Theater, City Life: African American Art Institutions and Urban Cultural Ecologies demonstrates how the Black theatre companies and institutions it explores have transformed their respective communities into important sites of civic and artistic engagement.
{"title":"Macelle Mahala. Black Theater, City Life: African American Arts Institutions and Urban Cultural Ecologies","authors":"I. Wooden","doi":"10.3138/md-66-4-rev7","DOIUrl":"https://doi.org/10.3138/md-66-4-rev7","url":null,"abstract":"Macelle Mahala’s Black Theater, City Life: African American Art Institutions and Urban Cultural Ecologies demonstrates how the Black theatre companies and institutions it explores have transformed their respective communities into important sites of civic and artistic engagement.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"80 4","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139191337","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Golden Thread: Irish Women Playwrights, 1716–2016 is a broadly focused examination of Irish women’s contributions to theatre across three centuries. The essays in the collection represent a range of literary and performance-based approaches; they will be useful both for scholars seeking new points of entry into the field and those broadening their view of more well-known writers.
{"title":"David Clare, Fiona Mcdonagh, and Justine Nakase, eds. The Golden Thread: Irish Women Playwrights, 1716–2016","authors":"Maria Doyle","doi":"10.3138/md-66-4-rev1","DOIUrl":"https://doi.org/10.3138/md-66-4-rev1","url":null,"abstract":"The Golden Thread: Irish Women Playwrights, 1716–2016 is a broadly focused examination of Irish women’s contributions to theatre across three centuries. The essays in the collection represent a range of literary and performance-based approaches; they will be useful both for scholars seeking new points of entry into the field and those broadening their view of more well-known writers.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"24 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139193452","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Based on a close reading of Claudia Rankine’s play The White Card (2018), in this article I argue that Rankine offers a political view of the theatre as capable of producing a dialectical image of white masochism in service of a critique of the neoliberal present. Drawing from Walter Benjamin’s theory of dialectical images, I further contend that Rankine’s dialectical image intervenes in helpful ways in the famous debate between Saidiya Hartman and Fred Moten regarding how to represent the scene of racial/sexual subjection. In that debate, Hartman decides not to focus on the “intolerable image” that spectacularizes Black suffering to defamiliarize the terror of slavery, concentrating instead on the terror of the mundane. Moten questions that move and turns back to that image to unpack a different kind of agency, which he identifies as the resistance of the object. Rankine’s theatre succeeds, I claim, in rendering both mundane and schocking violence visible without replicating it, while also foregrounding the otherwise compromised and often erased agency of the enslaved. In doing this, I conclude, Rankine’s theatre offers us a fugitive rather than emancipated spectator. Here I question the limits of Jacques Rancière’s theory of the emancipated spectator to address the politics of the theatre, when one understands policing not as an abstract logic of power but as a historically changing technology of racial/sexual subjection.
{"title":"The Dialectical Image of White Masochism and the Fugitive Spectator: On Claudia Rankine’s The White Card","authors":"Andrés Fabián Hernao Castro","doi":"10.3138/md-66-4-1284","DOIUrl":"https://doi.org/10.3138/md-66-4-1284","url":null,"abstract":"Based on a close reading of Claudia Rankine’s play The White Card (2018), in this article I argue that Rankine offers a political view of the theatre as capable of producing a dialectical image of white masochism in service of a critique of the neoliberal present. Drawing from Walter Benjamin’s theory of dialectical images, I further contend that Rankine’s dialectical image intervenes in helpful ways in the famous debate between Saidiya Hartman and Fred Moten regarding how to represent the scene of racial/sexual subjection. In that debate, Hartman decides not to focus on the “intolerable image” that spectacularizes Black suffering to defamiliarize the terror of slavery, concentrating instead on the terror of the mundane. Moten questions that move and turns back to that image to unpack a different kind of agency, which he identifies as the resistance of the object. Rankine’s theatre succeeds, I claim, in rendering both mundane and schocking violence visible without replicating it, while also foregrounding the otherwise compromised and often erased agency of the enslaved. In doing this, I conclude, Rankine’s theatre offers us a fugitive rather than emancipated spectator. Here I question the limits of Jacques Rancière’s theory of the emancipated spectator to address the politics of the theatre, when one understands policing not as an abstract logic of power but as a historically changing technology of racial/sexual subjection.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"310 ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139195420","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Josephine Lee historicizes how white and Black American artists performed what she calls “theatrical orientalism” in the long nineteenth century. Lee’s archival research, theory of racial habits, and performance analysis make this book a must-read for US theatre historians.
{"title":"Josephine Lee. Oriental, Black, and White: The Formation of Racial Habits in American Theater","authors":"Donatella Galella","doi":"10.3138/md-66-4-rev6","DOIUrl":"https://doi.org/10.3138/md-66-4-rev6","url":null,"abstract":"Josephine Lee historicizes how white and Black American artists performed what she calls “theatrical orientalism” in the long nineteenth century. Lee’s archival research, theory of racial habits, and performance analysis make this book a must-read for US theatre historians.","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":"7 2","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139190295","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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