Vol. 26, No. 2

Hot Pursuit: Researching Across the Theatre/Film Border

The value of interdisciplinary inquiry in the study of American drama and theatre has been persuasively established, so much so that it is virtually a commonplace. Scholars working in the field today routinely draw on work from the humanities, from the social sciences, from ecobiology and cognitive science and any number of other disciplines. Yet […]

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YoungGiftedandFat: Performing Transweight Identities

The body will tell the truth when all else fails, with or without you.1 Misty DeBerry, Performance Artist I am a black woman who wishes for a time That I could gain my weight back And still be fine Four years ago I lived as a fat black female, actress and teacher, trying to learn […]

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Crossing Genre, Age and Gender: Judith Anderson as Hamlet

In 1970 Judith Anderson, doyenne of the classical American stage, fulfilled a long-held desire to play the title role in Hamlet. Employing a heavily cut text and minimalist setting, the production relied on the power of voice to illuminate Shakespeare’s poetry. Yet most viewers were unable to see past Anderson’s seventy-three-year-old female body to the […]

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Transgenero Performance: Gender and Transformation in Fronteras Desviadas/Deviant Borders

Mujeres en Ritual: An Invitation to Transgress There are many ways to perceive Tijuana: as the first corner of México, or the last, or as the doorway to Latinoamerica, or to los Estados Unidos.1 I grew up in the hills above the city, overlooking the Pacific Ocean and the San Diego skyline, watching the border […]

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Alternative Transnationals: Naomi Wallace and Cross-Cultural Performances

In summer 2002, the paths of war crisscrossed American public discourse. The war in Afghanistan had continued for over half a year, and the Bush Administration was beginning to lay the groundwork of lies and misinformation that would form the justification for invading Iraq. Meanwhile, Naomi Wallace led a group of six playwrights, along with […]

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The Border that Beckons and Mocks: Conrad, Failure, and Irony in O’Neill’s Beyond the Horizon

The horizon is a border that cannot be crossed. “Beyond the horizon” is thus a meaningful locution only in the language of metaphor, where, like “the end of the rainbow,” it beckons and mocks, promising delight and abundance even as it emphasizes limitation.1 Eugene O’Neill’s Robert Mayo, poet manqué and protagonist of Beyond the Horizon, […]

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Introduction (JADT 26.2, 2014)

   “The border is not merely a wall or a body of water. It is a force of containment that inspires dreams of being overcome and crossed…” Ramón H. Rivera-Servera and Harvey Young, Performance in the Borderlands (2011)   The American Theatre and Drama Society, now in its twenty-seventh year, is an international organization with approximately […]

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