omething that every theater-maker knows is that objects perform. Or, they are made to perform. Pe... more omething that every theater-maker knows is that objects perform. Or, they are made to perform. Performance theorists and theater semioticians have a term for this, “ostention.
In my dissertation, “Untimed: Transversal Subjects and Temporality in Shakespeare,” I study how e... more In my dissertation, “Untimed: Transversal Subjects and Temporality in Shakespeare,” I study how early modern concepts of identity such as blackness, virtuous femininity, and nomadic criminality, affected the sense and construction of temporality in Shakespeare’s staged worlds. Drawing on both early modern and 20th century philosophies of time, subjectivity, and narrative, I examine historiographic literature of early modern England alongside Shakespeare’s dramatic works such as The Taming of the Shrew, The Two Gentlemen of Verona, Titus Andronicus, The Tempest, and Pericles. The dissertation has three major goals: To infuse discussions of identity, subjectivity, and character in early modern scholarship with a sustained temporal dimension and methodology that can augment and supplement existing scholarship on identity, subjectivity, and character; 2. To address the vitalism of Shakespeare’s scripts and performances put forward by Shakespeareans and early modernists who engage with p...
Journal of dramatic theory and criticism, Mar 1, 2022
This article considers the frictive intersections of creative decisions and their temporal conseq... more This article considers the frictive intersections of creative decisions and their temporal consequences in the musical Hamilton. Lauded and criticized in its attempt to tell “the story of America then” by “America now”—an oft-quoted statement from creator Lin-Manuel Miranda—we are concerned centrally with what Hamilton does for the present in 2020. We argue that the slippages between Black aesthetics, bodies, and politics both on and offstage; then and now, illustrate a series of temporal dissonances that pervade the racialized and immigrant narratives authorized by Hamilton. Throughout our polyphonic consideration of Hamilton’s, America’s, and our own various tempos and rhythms, we ask: how does the past become a fabulation of a future (never) to come? Keywords: time, temporality, Hamilton, remix, choreography
This article considers the frictive intersections of creative decisions and their temporal conseq... more This article considers the frictive intersections of creative decisions and their temporal consequences in the musical Hamilton. Lauded and criticized in its attempt to tell “the story of America then” by “America now”—an oft-quoted statement from creator Lin-Manuel Miranda—we are concerned centrally with what Hamilton does for the present in 2020. We argue that the slippages between Black aesthetics, bodies, and politics both on and offstage; then and now, illustrate a series of temporal dissonances that pervade the racialized and immigrant narratives authorized by Hamilton. Throughout our polyphonic consideration of Hamilton’s, America’s, and our own various tempos and rhythms, we ask: how does the past become a fabulation of a future (never) to come?
Keywords: time, temporality, Hamilton, remix, choreography
Performing alongside Alphonso Lingis and reading “Irrevocable Loss,” as a script for performance,... more Performing alongside Alphonso Lingis and reading “Irrevocable Loss,” as a script for performance, this article articulates how readers can perform with concepts. Beyond the linear time of work or the evaluative time of daily performances that Lingis defines, performances with concepts often occur in the nebulous and chaotic space-time of what Bryan Reynolds calls “transversal territory.” In transversal territory, readers as performers abide with human and non-human others, and performance becomes an ethical multiplicity: it requires articulation, selection, and parametrization, as its various human and non-human components transform and jet across multiple planes and space-times. Responsibility, technique, and articulated identity diffuse into the care of abiding with concepts and they are allowed to perform as readers perform with them: transforming each other without capture.
Eds. Peter Lichtenfels and Josy Miller, Shakespeare and Realism: On the Politics of Style (Madison, NJ: Rowman & Littlefield Publishing /Farleigh Dickenson University Press), 2018
The Transversal Theater Company, an ensemble of American and European artists officially based as... more The Transversal Theater Company, an ensemble of American and European artists officially based as a nonprofit organization in Amsterdam, has been devoted to developing a praxis for both the production and interpretation of performance that interrogates relationships between established certainties or codes, such as those of aesthetic traditions, ideological structures, physical-conceptual-emotional parameters of reception, and bases for affect. Founded by Bryan Reynolds and a number of collaborators in 2003, the idea was to create a laboratory through which to explore the social-cognitive theory, performance aesthetics, and research methodology of transversal poetics. The products of this practice-as-research have been various and far-reaching, including a theory of acting and design aesthetics, in addition to the many productions that Transversal Theater has toured to festivals and other venues in eight countries, such as the national theaters of Poland and Romania and the Gdansk International Shakespeare Festival.
omething that every theater-maker knows is that objects perform. Or, they are made to perform. Pe... more omething that every theater-maker knows is that objects perform. Or, they are made to perform. Performance theorists and theater semioticians have a term for this, “ostention.
In my dissertation, “Untimed: Transversal Subjects and Temporality in Shakespeare,” I study how e... more In my dissertation, “Untimed: Transversal Subjects and Temporality in Shakespeare,” I study how early modern concepts of identity such as blackness, virtuous femininity, and nomadic criminality, affected the sense and construction of temporality in Shakespeare’s staged worlds. Drawing on both early modern and 20th century philosophies of time, subjectivity, and narrative, I examine historiographic literature of early modern England alongside Shakespeare’s dramatic works such as The Taming of the Shrew, The Two Gentlemen of Verona, Titus Andronicus, The Tempest, and Pericles. The dissertation has three major goals: To infuse discussions of identity, subjectivity, and character in early modern scholarship with a sustained temporal dimension and methodology that can augment and supplement existing scholarship on identity, subjectivity, and character; 2. To address the vitalism of Shakespeare’s scripts and performances put forward by Shakespeareans and early modernists who engage with p...
Journal of dramatic theory and criticism, Mar 1, 2022
This article considers the frictive intersections of creative decisions and their temporal conseq... more This article considers the frictive intersections of creative decisions and their temporal consequences in the musical Hamilton. Lauded and criticized in its attempt to tell “the story of America then” by “America now”—an oft-quoted statement from creator Lin-Manuel Miranda—we are concerned centrally with what Hamilton does for the present in 2020. We argue that the slippages between Black aesthetics, bodies, and politics both on and offstage; then and now, illustrate a series of temporal dissonances that pervade the racialized and immigrant narratives authorized by Hamilton. Throughout our polyphonic consideration of Hamilton’s, America’s, and our own various tempos and rhythms, we ask: how does the past become a fabulation of a future (never) to come? Keywords: time, temporality, Hamilton, remix, choreography
This article considers the frictive intersections of creative decisions and their temporal conseq... more This article considers the frictive intersections of creative decisions and their temporal consequences in the musical Hamilton. Lauded and criticized in its attempt to tell “the story of America then” by “America now”—an oft-quoted statement from creator Lin-Manuel Miranda—we are concerned centrally with what Hamilton does for the present in 2020. We argue that the slippages between Black aesthetics, bodies, and politics both on and offstage; then and now, illustrate a series of temporal dissonances that pervade the racialized and immigrant narratives authorized by Hamilton. Throughout our polyphonic consideration of Hamilton’s, America’s, and our own various tempos and rhythms, we ask: how does the past become a fabulation of a future (never) to come?
Keywords: time, temporality, Hamilton, remix, choreography
Performing alongside Alphonso Lingis and reading “Irrevocable Loss,” as a script for performance,... more Performing alongside Alphonso Lingis and reading “Irrevocable Loss,” as a script for performance, this article articulates how readers can perform with concepts. Beyond the linear time of work or the evaluative time of daily performances that Lingis defines, performances with concepts often occur in the nebulous and chaotic space-time of what Bryan Reynolds calls “transversal territory.” In transversal territory, readers as performers abide with human and non-human others, and performance becomes an ethical multiplicity: it requires articulation, selection, and parametrization, as its various human and non-human components transform and jet across multiple planes and space-times. Responsibility, technique, and articulated identity diffuse into the care of abiding with concepts and they are allowed to perform as readers perform with them: transforming each other without capture.
Eds. Peter Lichtenfels and Josy Miller, Shakespeare and Realism: On the Politics of Style (Madison, NJ: Rowman & Littlefield Publishing /Farleigh Dickenson University Press), 2018
The Transversal Theater Company, an ensemble of American and European artists officially based as... more The Transversal Theater Company, an ensemble of American and European artists officially based as a nonprofit organization in Amsterdam, has been devoted to developing a praxis for both the production and interpretation of performance that interrogates relationships between established certainties or codes, such as those of aesthetic traditions, ideological structures, physical-conceptual-emotional parameters of reception, and bases for affect. Founded by Bryan Reynolds and a number of collaborators in 2003, the idea was to create a laboratory through which to explore the social-cognitive theory, performance aesthetics, and research methodology of transversal poetics. The products of this practice-as-research have been various and far-reaching, including a theory of acting and design aesthetics, in addition to the many productions that Transversal Theater has toured to festivals and other venues in eight countries, such as the national theaters of Poland and Romania and the Gdansk International Shakespeare Festival.
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Keywords: time, temporality, Hamilton, remix, choreography
Keywords: time, temporality, Hamilton, remix, choreography