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<p class="MsoNormal"><strong><span style="font-family:"Calibri","sans-serif";color:black">New at
</span></strong><a href="http://bit.ly/MDadv57"><b><i><span style="font-family:"Calibri","sans-serif"">Modern Drama Advance Online</span></i></b></a><b><span style="font-family:"Calibri","sans-serif";color:black">
</span></b><span style="font-family:"Calibri","sans-serif""><o:p></o:p></span></p>
<p class="BasicParagraph" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal">
<span style="font-family:"Calibri","sans-serif"">“<b>Remove Your Mask”: Character Psychology in Introspective Musical Theatre – Sondheim’s
<i>Follies</i>, LaChiusa’s <i>The Wild Party</i>, and Stew’s <i>Passing Strange</i></b><i><br>
</i>Alisa Roost<br>
</span><a href="http://bit.ly/MDadv57a"><span style="font-family:"Calibri","sans-serif"">http://bit.ly/MDadv57a</span></a><span style="font-family:"Calibri","sans-serif""><o:p></o:p></span></p>
<p class="BasicParagraph" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal">
<span style="font-family:"Calibri","sans-serif"">While earlier musicals, which developed popular songs, tended to focus on romance, differing backgrounds of the two members of a romantic couple, and their acceptance of each other and into a community, introspective
musicals, which Stephen Sondheim pioneered after rock ’n’ roll began to define popular music, often dramatize psychological layers by exploring the discrepancy between the persona a character constructs and the character’s true inner self. I examine the way
introspective musicals construct a paradigm of psychological growth, which usually involves characters’ creating strong masks/personae to hide their authentic selves and then ultimately gaining the courage to remove those masks. By looking at the construction
of personae and their eventual attempts to accept emotional vulnerability – in Stephen Sondheim’s
<i>Follies</i>, Michael John LaChiusa’s <i>The Wild Party</i>, and Stew’s <i>Passing Strange</i> – I explicate the way smaller, post-Sondheim musicals have shifted toward dramatizing an isolated character’s emotional development.</span><i><span style="font-family:"Calibri","sans-serif""><o:p></o:p></span></i></p>
<p class="BasicParagraph" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal">
<b><span style="font-family:"Calibri","sans-serif"">Rethinking Sarah Kane’s Characters: A Human(ist) Form and Politics<br>
</span></b><span style="font-family:"Calibri","sans-serif"">Louise LePage<br>
</span><a href="http://bit.ly/MDadv57b"><span style="font-family:"Calibri","sans-serif"">http://bit.ly/MDadv57b</span></a><b><span style="font-family:"Calibri","sans-serif""><o:p></o:p></span></b></p>
<p class="BasicParagraph" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal">
<span style="font-family:"Calibri","sans-serif"">The common lore of Sarah Kane scholarship is that
<i>Blasted</i>’s characters are initially naturalistic, denoting Cartesian or liberal-humanist subjectivity, and later, are determined products (i.e. “animals” or linguistic fragments). This article shows that such assumptions are erroneous. Kane’s characters,
Ian and Cate, <i>are</i> naturalistic; however, an examination of character in the naturalist theatre tradition reveals, not a fixed and autonomous agent, but an individual who is complexly organized of natural and cultural parts and founded upon a compatibilist
model of mind. By reflecting upon the “conglomerate” naturalistic character articulated by August Strindberg, in his preface to
<i>Miss Julie</i> (1888), the article shows that Kane’s changing dramaturgical treatment of character reveals, not different models of self, but one hybrid individual, capable of change and self-determination. Rethinking Kane’s characters, in this way, as human(ist)
(but not liberal-humanist) subjects, the article brings into focus a politics for
<i>Blasted</i> that is emancipatory: crucially, people are changeable and the human species has some capacity to determine its future.</span><span style="font-family:"Calibri","sans-serif""><o:p></o:p></span></p>
<p class="BasicParagraph" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal">
<b><span style="font-family:"Calibri","sans-serif"">Ventriloquist Theatre and the Omniscient Narrator:
<i>Gatz </i>and <i>El</i> <i>pasado es un animal grotesco <br>
</i></span></b><span style="font-family:"Calibri","sans-serif"">Barbara Fuchs<br>
</span><a href="http://bit.ly/MDadv57c"><span style="font-family:"Calibri","sans-serif"">http://bit.ly/MDadv57c</span></a><span style="font-family:"Calibri","sans-serif""><o:p></o:p></span></p>
<p class="BasicParagraph" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal">
<span style="font-family:"Calibri","sans-serif"">By replacing dialogue with narration, ventriloquist theatre raises central questions about its ethical and political costs, while challenging our understanding of the limits between drama and narrative. In very
different ways, Elevator Repair Service’s <i>Gatz</i> (first performed 2006) and Mariano Pensotti’s
<i>El pasado es un animal grotesco [The Past Is a Grotesque Animal]</i> (2010) redraw the boundaries between literary modes, putting characters onstage but replacing their dialogue with narrated text. Staging narration allows us to reconsider literary mechanisms
to which we have largely become inured. Rendering the invisible narrator as a presence on the stage lays bare both the arbitrariness of narrative authority and its costs.</span><i><span style="font-family:"Calibri","sans-serif""><o:p></o:p></span></i></p>
<p class="BasicParagraph" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal">
<b><span style="font-family:"Calibri","sans-serif"">The Chronotopic Dynamics of Ibsen’s
<i>Pillars of Society</i>: The Triumph of Industrialism, or How Drama Becomes History
<br>
</span></b><span style="font-family:"Calibri","sans-serif"">Erinç Özdemir<br>
</span><a href="http://bit.ly/MDadv57d"><span style="font-family:"Calibri","sans-serif"">http://bit.ly/MDadv57d</span></a><b><span style="font-family:"Calibri","sans-serif""><o:p></o:p></span></b></p>
<p class="BasicParagraph" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal">
<span style="font-family:"Calibri","sans-serif"">This essay aims to bring a socio-historical perspective to the current critical assessment of Ibsen’s
<i>Pillars of Society</i>, which has been largely confined to the ethical and the cultural. Combining a Bakhtinian, chronotopic analysis with a Bakhtinian / New Historicist understanding of literary texts as inevitably or deliberately informed by historical
processes, the essay argues that the socio-economic/socio-historical plot in the play is the larger, as well as more determining, dramatic component and force. It posits that industrial capitalism and technological modernization are the intertwined dynamics
that propel the drama from beginning to end, forming its central axis of plot in the shape of the railroad enterprise.</span><span style="font-family:"Calibri","sans-serif""><o:p></o:p></span></p>
<p class="BasicParagraph" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal">
<b><span style="font-family:"Calibri","sans-serif"">Parody, E.E. Cummings, and the Twentieth-Century Rebuilding of
<i>Uncle Tom’s Cabin </i></span></b><i><span style="font-family:"Calibri","sans-serif""><br>
</span></i><span style="font-family:"Calibri","sans-serif"">James M. Cherry<br>
</span><a href="http://bit.ly/MDadv57e"><span style="font-family:"Calibri","sans-serif"">http://bit.ly/MDadv57e</span></a><b><span style="font-family:"Calibri","sans-serif""><o:p></o:p></span></b></p>
<p class="BasicParagraph" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal">
<span style="font-family:"Calibri","sans-serif"">This article examines E.E. Cummings’s
<i>Tom</i> (1935), a modern dance treatment of Harriet Beecher Stowe’s <i>Uncle Tom’s Cabin</i> never produced, and the effect that
<i>Tom</i> has had on subsequent stage interpretations of <i>Uncle Tom’s Cabin</i>. Grounded in Linda Hutcheon’s conception of parody as an “ironic playing with multiple conventions,” the article argues that Cummings’s Tom blends Stowe’s narrative with modernist
poetry, ballet, and African-American religious symbolism as a way to reactivate the potency of
<i>Uncle Tom’s Cabin</i> in the twentieth century and suggests that productions like Bill T. Jones’s
<i>Last Supper at Uncle Tom’s Cabin / The Promised Land</i> (1991), and the Drama Dept.’s
<i>Uncle Tom’s Cabin; Or, The Preservation of Favoured Races in the Struggle for Life</i> (1997) followed the pattern of Cummings’s
<i>Tom</i>, by using parody and ironic juxtaposition to generate vital, new interpretations of the old story. These performances all suggest that melodrama regains its power to move audiences when presented as a part a collective memory and an intertextual,
parodic narrative. The strategies of Cummings, Jones, and the Drama Dept. reveal a potent modern potential in the intermixture of parody and melodrama.</span><i><span style="font-family:"Calibri","sans-serif""><o:p></o:p></span></i></p>
<p class="BasicParagraph" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal">
<b><span style="font-family:"Calibri","sans-serif"">“A Little History Here, a Little Hollywood There”: (Counter-) identifying with the Spanish Fantasy in Carlos Morton’s
<i>Rancho Hollywood</i> and <i>Theresa Chavez’s L. A. Real </i></span></b><i><span style="font-family:"Calibri","sans-serif""><br>
</span></i><span style="font-family:"Calibri","sans-serif"">Courtney Elkin Mohler<br>
</span><a href="http://bit.ly/MDadv57f"><span style="font-family:"Calibri","sans-serif"">http://bit.ly/MDadv57f</span></a><b><span style="font-family:"Calibri","sans-serif""><o:p></o:p></span></b></p>
<p class="BasicParagraph" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal">
<span style="font-family:"Calibri","sans-serif"">Often considered the final conquest and ultimate summation of Manifest Destiny, California holds a unique place in the American imaginary. While the popular mythology of the Spanish fantasy has served to obscure
the use of violence and racialized oppression throughout the colonization of the American Southwest, traces of such struggle remain in memories of the colonized as they continue to occupy this contested space. This paper examines Carlos Morton’s ensemble-based
political satire, <i>Rancho Hollywood</i>, and Theresa Chavez’s one-woman show, <i>
L. A. Real</i>, to navigate the dynamic experience of contemporary Southern Californian racialized identity. These two pieces diverge stylistically but share an inclusive, nuanced approach to making sense of history, exploring the material and epistemological
impact of historical representation on Chicana/o identity over time. <i>Rancho Hollywood</i> and
<i>L. A. Real</i> counter-identify with the Spanish-fantasy heritage by rejecting stereotyping, questioning sanitized versions of Californian history, and voicing personal narratives that resist dominant regional myths and their associated racial ascriptions.
Each play stages alternative versions of history that include personal experience and cultural memory; this transformative, productive approach to identity formation articulates agency over the memory of California.</span><i><span style="font-family:"Calibri","sans-serif""><o:p></o:p></span></i></p>
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