Randia's Quiet Theatre
Throughout Poland, tens of thousands of elderly people live with disabilities in four-storey walk-up apartment buildings. In many cases their children have emigrated; they live with loneliness, a lack of basic amenities, silence, and the absence of care. They are known as "prisoners of the fourth floor." In Randia's Quiet Theatre Magdalena Kazubowski-Houston mixes autofiction, ethnography, and theatrical improvisation to unravel the politics of aging in Poland. At the centre of the book is Randia, a Romani fortune teller, storyteller, and performer confined to her fourth-floor apartment in old age. In interviews, Randia's identity is fixed: she tells of the hardships she faced as a Romani girl and as a wife, mother, and grandmother whose relationship with her family was shaped by separation, sickness, and death. But in storytelling sessions staged in her home, Randia steps into characters and is freed: her tales move between the past, the present, and the future, across life and death; her characters look after one another and change history. Kazubowski-Houston finds in Randia's performances a quiet activism through which she envisages alternative lives and articulates an ethics of care among individuals, communities, and spirits. Interwoven throughout Randia's Quiet Theatre are Kazubowski-Houston's own stories about caring for her elderly and disabled mother, making the book a collaborative, reflexive, and complex creative work. It reveals how ethnographers and their interlocutors can stand on more equal ground. Ultimately it is a profound reflection on how the elderly can live with dignity and how we can care for each other.
Theatrical Consciousness
Investigating late imperial Russian and early Soviet modernism's reinvention of the actor In this wide-ranging study, Alisa Ballard Lin argues that Russian theatrical theory and practice contributed to a broad pre- and postrevolutionary discourse about the mind, profoundly reshaping concepts of consciousness, perception, identity, and the constitution of the subject. Theatrical Consciousness: The Actor's Mind in Russian Modernism examines efforts in Russian theater--from around the turn of the century through the mid-1930s--to stimulate, train, imagine, and ultimately understand the actor's, as well as the spectator's, mind. Discussing key figures of the period, including Nikolai Evreinov, Konstantin Stanislavsky, Vsevolod Meyerhold, and Alexander Tairov, Lin identifies an underappreciated dimension of humanism within Russian modernism: a humanism that resisted the pressures of an increasingly technologized, industrialized, and politicized modernity that challenged the place of the human within it.
Undesirability and Her Sisters
How Black women's visual work functions in an era of new racial and gender meaning In the wake of contemporary art's post-Black turn and the mainstreaming of intersectionality, Undesirability and Her Sisters charts a new genealogy of Black women's art that exposes the unfinished project of racial and gender empowerment in the twenty-first century. Tiffany Barber argues that Black women's social positions at the intersection of race, gender, sexuality, and class are inherently queer, thus spurring unexpected aesthetic strategies that throw into high relief the ethical terrain of what it means to be Black and a woman now. Undesirability and Her Sisters collates what Barber terms "undesirable" representations of Black female bodies in recent American sculpture, collage, photography, and dance-based performance art by Kara Walker, Wangechi Mutu, Xaviera Simmons, and Narcissister. These works not only engage the visual senses but also incorporate olfactory, haptic, and sonic experiences that challenge traditional interpretations of Blackness and womanhood in art history, Black Studies, feminist and gender studies, dance and performance studies, and queer studies. Instead of transcendental beauty, wholeness, and individual and collective becoming, the perverse Black female figures profiled here eschew sublimation and synthesis as necessary responses to racial and gender subjugation in the past, present, and future. Through its unique, groundbreaking analysis, this book contributes to the ongoing discussions on the ethics of representation--the capacity to speak and act for oneself, to have significance and impact, and ultimately, to reject acknowledgment.
Shakespeare in Malawi
This book critically examines the forces and events that led to Shakespeare performance becoming an important part of the contemporary Malawian cultural and educational landscape. It brings together archive material, interviews, existing literature and practice as research to understand, examine and interrogate theories of 'intercultural theatre' and post-colonial theories, to highlight the unique practice of Shakespeare production in Malawi. A timeline of Shakespeare productions in Malawi is included, spanning the colonialist period through to the present day. The book explores local adaptations of As You Like It and Macbeth and the translation into Chichewa of Romeo and Juliet, providing a unique insight into the practice and methodologies of Malawian Shakespeare translation, including the role of women as performers and artists. It looks at the current state of drama and theatre in Malawi and what the future of Shakespeare in Malawi might look like.
