Sometimes the meeting of an actor and a role produces a rare kind of alchemy that forever bonds the two… and sometimes the opposite happens. The former occurred when twenty-one-year-old Barbra Streisand was cast as famed comedienne Fanny Brice in the 1964 musical Funny Girl.
Last month a Member of Congress joined Fox News to claim President Joe Biden is “robbing hard working Americans to pay for Karen’s daughter’s degree in lesbian dance theory” in response to the announcement that the President was providing $20,000 in debt relief for Pell Grant recipients and $10,000 for many other borrowers.
Lockdown raves, dodging people in the street, no more hugs, confinement within the home worthy of house arrest—and the language of self-isolation, shelter, safety… all the makings of a sci-fi horror film depicting the world at an end. Or a history book, which is what this pandemic has felt like to me at times, having spent well over a decade thinking about historical epidemiology, specifically in relation to ideas about dance.
Since George Floyd’s murder at the hands of Minneapolis police in 2020, social justice activists have targeted systemic racism in housing, education, and law enforcement. Less attention has been paid to entertainment. As the recent controversy over racial bias in the Academy Awards suggests, however, this problem has always existed in show business. The career of legendary vaudeville team Buck and Bubbles shows how it worked.
Why is “the all-male stage” inadequate as shorthand for the early modern stage? For one thing, it enforces a gender binary that has little to do with the subjects, desires, audiences, and practices of the time. Gender was elusive, plural, and performative, especially on the stage, where attractive androgynous boys played women, or switched back and forth between genders. The importance of female spectators, artisans, and backers gives the lie to total exclusion, and so does mounting evidence that women played in many spheres adjacent to the professional stage.
I didn’t enter the world of digital dance cultures as a scholar. When I was introduced to TikTok and Dubsmash in October 2018 by my high school students, I first engaged with the platforms as a dancer.
Listen to season three of The VSI Podcast for concise and original introductions to a selection of our VSI titles from the authors themselves.
Where does philosophy belong? In lecture halls, libraries, and campus offices? In town squares? In public life? One answer to this question, exceedingly popular from the Enlightenment onward, has been that philosophy belongs on stage—not in the sense that this is the only place we should find it, but that the relationship between philosophy and drama is particularly productive and promising.
The story of Afong Moy, the first known Chinese woman on American soil, and the first Chinese person to come face to face with American audiences across the country has been told recently by both the historian Nancy Davis as well as the playwright LLoyd Suh. Davis explores Afong Moy’s life and the different lessons that can be learned through research as well as fictionalization.
From the beginning, Tommy Tune was pulled as if by centrifugal force toward dance and the Broadway musical. He was taking dancing lessons by the age of five, but his early ambition to be a ballet dancer was abandoned when he shot up in height during his teenage years. He later joked about his extreme height, saying, “Sometimes, instead of thinking of myself as six-foot-six, I tell myself I’m only five-foot-eighteen.”
From its origins in the Renaissance, ballet has evolved in various distinct ways, with different schools around the globe incorporating their own cultures. Explore some of our recent titles that look at the history (and future) of ballet, consider some of its influential figures, and the role it played in Cold War cultural diplomacy.
The SHAPE (Social Sciences, Humanities, and the Arts for People and the Economy) initiative advocates for the value of the social sciences, humanities, and arts subject areas in helping us to understand the world in which we live and find solutions to global issues. As societies around the world respond to the immediate impact of the COVID-19 pandemic, research from SHAPE disciplines has the potential to illuminate how societies process and recover from various social crises.
There has always been some perceived affinity between the submissive Ophelia and East Asian women. Ophelia is a paradox in world literature. Even when she appears to depend on others for her thoughts like her Western counterpart, the Ophelias in Asian adaptations adopt some rhetorical strategies to make themselves heard, balancing between eloquence and silence, shattering the stereotypes about docile Asian women.
It is as important for music teachers to listen to what music students and performers say as to the music they play. The incident I am about to describe further opened my eyes and ears.
The nineteenth century saw the publication of several books explaining how magical effects and spectral appearances could be performed using the science of optics. It started in 1831, when Sir David Brewster (famed for his discovery of Brewster polarization and inventing the kaleidoscope) published “Letters on Natural Magic.” In this book, Brewster showed how to produce images of ghosts using partially silvered mirrors and by using a magic lantern to project images onto screens or onto clouds of vapor.
Whether you’re new to the stage or eagerly counting down the days until the curtains lift, explore some of our recent titles looking behind the scenes of musical theater.