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TDR's Spring 2013 Issue with special NOLA section, plus Pussy Riot v. Putin
14 February 2013

TDR’s Spring 2013 issue is here!

This issue, with its special section on post-Katrina performance, was storm-plagued from beginning to end: while we were in production, some of our Katrina-survivor authors lost power from Isaac; Sandy shut us down and we were a week late sending the manuscript to press; Nemo fortunately passed just before we were ready to ship.


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Reinventing the Show Trial: Putin and Pussy Riot
by Catherine Schuler

New Orleans after the Flood
Guest edited by Jan Gilbert and Kevin McCaffrey

Tank Drama
by Jan Gilbert and Kevin McCaffrey
with a note from Richard Schechner

Swimming Upstream: A Rain Dance
by Carol Bebelle

Reclaiming, Remembering, Resisting: Swimming Upstream Flows from the Superdome into the New Orleans Diaspora
by Anne-Liese Juge Fox

Performance and Cross-Racial Storytelling in Post-Katrina New Orleans: Interviews with John O’Neal, Carol Bebelle, and Nicholas Slie
by Catherine Michna

On Thieves, Spiritless Bodies, and Creole Soul: Dancing through the Streets of New Orleans
by Rachel Carrico

Re-membering the Tribe: Networks of Recovery in Rex Nettleford’s Katrina
by Lara Cahill-Booth

Student Essay Contest Winner
The Empty Chair is Not So Empty: Ghosts and the Performance of Memory in Post-Katrina New Orleans
by Helen Jaksch

The Image of the Martyr in Syrian Performance and Web Activism
by Edward Ziter

The Informative Public of Performance: A Study of Viennese Actionism, 1965-1970
by Mechtild Widrich

Between Laboratory and Institution: Practice as Research in No Man’s Land
by Frank Camilleri

Critical Acts
Dashing at a Nightmare: Haunting Macbeth in Sleep No More
by Myrto Koumarianos and Cassandra Silver

Peer Gynt at Bergen’s Den Nationale Scene: Conventional or Controversial?
by Sarah Olive

On Directing and Dramaturgy: Burning the House by Eugenio Barba Reviewed by Marin Blažević

Lynching and Spectacle: Witnessing Racial Violence in America, 1890–1940 by Amy Louise Wood; Living with Lynching: African American Lynching Plays, Performance, and Citizenship, 1890–1930 by Koritha Mitchell
Reviewed by Kristin Moriah

Slaves to Fashion: Black Dandyism and the Styling of Black Diasporic Identity by Monica L. Miller
Reviewed by Douglas A. Jones, Jr.

Plays from the BoomBACKCOVER_MOCKUP_T217 5 Box Galaxy: Theater from the Hip Hop Generation edited by Kim Euell with Robert Alexander; Say Word! Voices from Hip Hop Theater: An Anthology Edited by Daniel Banks Reviewed by Jessica N. Pabón

Showtime: A History of the Broadway Musical Theater by Larry Stempel; South Pacific: Paradise Rewritten by Jim Lovensheimer
Reviewed by Derek Miller

More Books

TDR Critical Acts: Call for Submissions

TDR welcomes submissions to its performance report section Critical Actsshort articles (1500–2000 words) with a strong artistic, social, or political position exploring the intersection of live performance and critical inquiry. Critical Acts engage new work in theatre, music, dance, and visual and performance art, by new or established artists and companies, and we especially encourage emerging scholars and graduate students to submit reports.

Email questions and submissions to Critical Acts editors Gelsey Bell and T. Nikki Cesare Schotzko at


If you don’t have access to TDR online through a personal or institutional subscription, you can now access articles through Here, users have the option to “rent” an article for 24 hours at $3.99. This allows them to view the full text of the article on the Deep Dyve site, but they cannot download, print, save, cut and paste, or otherwise manipulate the content of the article. There are also options to take out memberships to the site that allow users to extend the time during which they can view the article. For more information, please visit:

For further information on subscriptions, submission guidelines, and other inquiries, please contact TDR at or go to:

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News from TDR Editors

Julie Tolentino’s new show opens 31 March 2013 at Commmonwealth & Commons in Los Angeles. She has just returned from performing in Flying Circus 2013 with TDR Contributing Editor Ong Keng Sen in Myanmar and Singapore, and will also be performing at PSi19 at Stanford University.

T. Nikki Cesare Schotzko, with the support of the Centre for Drama, Theatre, and Performance Studies, convened a conference titled The Future of Cage: Credo at the University of Toronto in October. The interdisciplinary conference was both a celebration of John Cage, 100 years after his birth, and an opportunity to explore Cage’s influence on music, writing, performance, and critical scholarship. Featured speakers and performers included keynotes by Pauline Oliveros and Allen S. Weiss, performance presentations by Barbara Browning, Eunsu Kang, Aliza Shvarts, Paul Walde, and Alexander Waterman, among others, and paper presentations by several international scholars. She is editing a collection of essays from the conference for a forthcoming publication. She recently presented a paper on the “chronometry of falling” in Vojin Vasović’s short animated film 5 Minutes Each (2011) at the UofT’s annual Festival of Original Theatre Conference, this year exploring Theatre and Technology.

Gelsey Bell’s new song cycle Our Defensive Measurements, which was commissioned by Roulette and the Jerome Foundation, will premiere in February at Roulette in New York City. In March, she will appear in Yasuko Yokoshi’s highly anticipated New York Live Arts commission BELL.

John Bell’s book American Puppet Modernism: The Material World in Performance is now available in paperback from Palgrave Macmillan. The theatre company of which he is a member, Great Small Works (which also includes NYU Performance Studies alumni Jenny Romaine, Mark Sussman, and Stephen Kaplin), is producing its Tenth International Toy Theater at St. Ann's Warehouse in Brooklyn 14–23 June 2013.

CFP: For a special section in TDR celebrating the 50th anniversary of Peter Schumann’s Bread and Puppet Theater, John Bell is soliciting articles analyzing the work of the company, in the following areas:
- Bread and Puppet and US political performance from the 1960s to the present, from the Living Theater to the Occupy Movement.
- “Cheap Art” philosophy and practical logistics in the cultural economy of the United States.
- Bread and Puppet pedagogy: workshops, internships, and the survival of the apprentice system.
- Puppetry as dance: the kinesthetics of bodies and objects in activist performance.
- Bread and Puppet and community performance: the aesthetics and logistics of amateur theatricals as political activism.
- Critical theory and puppet performance: what would puppet performance criticism look like?
- Directing and playwriting for puppet and object theater: Image-Music-Text.
- Bread and Puppet Musics: Junk orchestras, Renaissance masses, Sacred Harp, and brass bands.

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