... 44:1 doi 10.1215/01610775-2370816 © 2014 by Andrea Tompa 85 Gherardo Vitali Rosati What Fate for the European Community? Crossing the Theatrical Continent Spring Theatre Tour European Theatre Convention April 2013...

...Tim Etchells © 2016 by Tim Etchells 2016 Forced Entertainment’s First Night, Rotterdam, Netherlands, 2001. Photo: Hugo Glendinning Tim Etchells By Means of the Future Forced Entertainment, Prediction, and the Community of Audience To tell it as one might find it in a book...

...Tom Sellar © 2012 by Yale School of Drama/Yale Repertory Theater 2012 Life Is Living Festival, created by Marc Bamuthi Joseph, Chicago, 2009. Photo: Bethanie Hines Tom Sellar Architecture for a Community Introduction to rbG:b Officially red, black, and GREEN: a blues...

... Cooper. Theater 31.3-05 Green.V2.sh 10/16/01 11:21 AM Page 47 Sharon Green Boal and Beyond Strategies for Creating Community Dialogue In 1991 I participated in a series of workshops with Augusto Boal in New York...

...Marian Popescu Romanian theater critic and scholar Marian Popescu discusses the challenges faced by Romanian playwrights, directors, and other theater practitioners since the fall of communism. He details the struggles that artists and institutions have had to address and adjust to since the end...

..., and community-based theater. Drawing on anecdotes, ruminations, and meditations, Alfaro narrates the story of his convergence with the larger Latinx theater community, and his account considers how artists past and present are paving the way for the potential future of Latinx theater. Copyright © 2019 Yale...

.... Staging an “oblique encounter” between James Baldwin and María Irene Fornés via their experiences with The Actor’s Studio of the sixties—and discussing their distance from the rise of not-for-profits and theaters devoted to marginalized communities—Herrera concludes that both dramatists were “caught...

.... Noting the fundamental gap between the ephemeral performances and their retrospective archives, he expanded the notion of archive to bodily and spatially communicate with the contemporary. Introducing each work presented in goat island archive , Lowe describes how the artists regenerated the original...

... of communication might change not only how we talk to one another but also what long-lost phantoms we might be able to access anew.” 79 Miriam Felton- Dansky From a Weather Report High Winds, Insomnia, and the Theater of Sylvan Oswald 1 . High Winds did not begin as a text for theater. It began, in 2015...

...Jennifer Buckley In this article, Jennifer Buckley investigates digital durational performances like Forced Entertainment's 12 a.m.: Awake & Looking Down and questions if and how media can feel like live theater and create community. She also discusses how social media platforms like Twitter...

... of a dynamic engagement with existing communities and publics. He calls for a recentering on minoritarian forms, a shift that would embody a new ethics and reflect new American demographic and cultural realities. © 2017 by Thomas F. DeFranz 2017 performance curation black arts movement...

... to fade quickly from public view. Houchin argues the swift proliferation of internet and cable communication has protracted these debates, placing even greater pressure on artists, producers, and regulatory agencies. Houchin explores the impact of censorship vis-à-vis four events, events that all revolve...

...Miriam Felton-Dansky In this article, Miriam Felton-Dansky outlines recent debates over censorship and controversial theater in an international context. She describes the history of Western free speech debates since the fall of Communism, delineates recent scandals such as the uproar over Behzti...

... years of violence and prejudice, and describes a younger generation whose work ventures beyond the confines of Northern Irish struggle. She also explores a growing community of theater companies creating site-specific work in locations that were significant during the Troubles, to commemorate the events...

...Emily Coates In this article, Emily Coates proposes the concept of “intercultural kinesis” to describe the transnational collaborations; temporary, embodied onstage communities; and surprising juxtapositions of cultural heritages present in three productions brought to Yale University by the World...

... reflects on the complex cultural connotations of the term marathon , both as an advertising strategy and as a communal event. © 2011 by Jonathan Kalb 2011 Faust I + II, directed by Peter Stein, Hanover, World Expo, 2000. Photo: Ruth Walz Jonathan Kalb What Is Theater’s Outer Limit...

... of small town and “our”instead of “my.”Working with communities character.” He neglects to recognize that the mall and video across the United States “to build a new, inclusive store are institutions common to virtually all American American theater...

.... But Cornerstone Theater Company promotes interaction between performer and audience. For Comerstone, educational airns and community define the group. The company visits theaterless areas of America and infiltrates the social...

... on a favorable constellation of unstable elements: people already engaged or engageable with specific issues, aesthetic strategies that are compelling to desired audi- ences, strong alliances with political or community organizations, sufficient material...

... in residence helping communities design, implement, and sustain theater-­based programs that could host local arts-­based civic dialogue across health, legislative, and education sectors. During these years, I built performance with people who had made their lives in the theater...