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For the thirtieth volume of Theatre Symposium, the editors return
to a topic first proposed over twenty years ago in volume 9
(theatre and politics in the twentieth century), reimaged for a
broader, more comprehensive time frame. In this volume on theater
and politics, scholars explore what constitutes the political, how
the political is performed, and how theatre engages with politics
over time, drawing on the following framing questions: What is the
historical and ongoing role of theatre in framing our ideas and
conversations about politics? How do politics and theatre engage
one another in an increasingly mediated landscape? From theatrical
analysis of the political arena to political analysis of the
theatrical stage, discussions of theatre and politics can challenge
ethical, theoretical, and artistic considerations of our world. The
current moment presents a compelling opportunity to revisit,
revise, and reengage. Certainly, in the twenty-one volumes since
volume 9, the political landscape both nationally and
internationally has shifted dramatically. The past two years
specifically have seen an increase in the already prevalent
presence of the political in our daily discourse. The COVID-19
global pandemic and ongoing racial reckonings have further unmoored
many systems and structures, requiring action and change. Rather
than a moment of pause or passivity, pandemic times have seen an
increase in political activity and political discourse on the
local, national, and global levels. Within the theatre and
performance communities, these calls to action have resulted in
movements like #weseeyouWAT and other calls to break down old
systems and create new ones, to privilege access for those of the
global majority, and to explicitly demand advocacy and activism.
Organizations like the Southeastern Theatre Conference (SETC)
itself crafted new ethos statements and engaged in the necessary
work of boldly foregrounding equity, diversity, inclusion, and
accessibility at the center of all its efforts. The editors and
contributors to this volume respond to the immediacy of this moment
and the clarion call for change. From Shakespeare to new
productions like Alabama Love Stories, presented at Auburn
University, contributors grapple with a range of examples,
contemporary and historical, and argue with renewed urgency for the
importance of intentionally interrogating the interplay of
performance and politics. The essays in this volume demonstrate
that theatre and performance cannot rise to this moment or even
begin to address it without doing that substantial work to clean
its own house and create accessible new spaces. Contributors Chase
Bringardner / Tessa Carr / Lily Climenhaga / Abena Foreman-Trice /
Emma Givens / TK Manwill / Boomie Pederson / Royal ShirÉe / Teresa
Simone / Tony Tambasco / Jonathon W. Taylor / Justice von Maur /
Patricia Ybarra
A collection of pedagogical essays that presents proven strategies
for the teaching of adaptation and eighteenth-century texts The
eighteenth century was a golden age of adaptation: classical epics
were adapted to contemporaneous mock-epics, life writing to novels,
novels to plays, and unauthorized sequels abounded. In our own
time, cultural products of the long eighteenth century continue to
be widely adapted. Early novels such as Robinson Crusoe and
Gulliver's Travels, the founding documents of the United States,
Jane Austen's novels, Mary Shelley's Frankenstein-all of these have
been adapted so often that they are ubiquitous cultural mythoi,
even for people who have never read them. Eighteenth-century texts
appear in consumer products, comics, cult mashups, fan fiction,
films, network and streaming shows, novels, theater stagings, and
web serials. Adapting the Eighteenth Century provides innovative,
hands-on pedagogies for teaching eighteenth-century studies and
adaptation across disciplines and levels. Among the works treated
in or as adaptations are novels by Austen, Defoe, and Shelley, as
well as the current worldwide musical sensation Hamilton. Essays
offer tested models for the teaching of practices such as close
reading, collaboration, public scholarship, and research; in
addition, they provide a historical grounding for discussions of
such issues as the foundations of democracy, critical race and
gender studies, and notions of genre. The collection as a whole
demonstrates the fruitfulness of teaching about adaptation in both
period-specific and generalist courses across the curriculum.
Peer-reviewed journal of theater history and scholarship published
annually by the Southeastern Theatre Conference (SETC)
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