New Books in Performing Arts

Terry Baum’s book One Dyke’s Theater: Selected Plays 1975-2014 (Exit Press, 2019) collects plays and solo scripts from throughout the career of a “slightly world-renowned lesbian playwright.” The plays range from outlandish comedies like Bride of Lesbostein to the historical drama Hick: A Love Story. This book will be of interest to anyone interested in the history of queer theatre, solo performance, and feminism.

Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA program at Columbia University, Harvard University, and the Arizona School for the Arts. His plays have been produced, developed, or presented at IRT, Pipeline Theatre Company, The Gingold Group, Dixon Place, Roundabout Theatre, Epic Theatre Company, Out Loud Theatre, Naked Theatre Company, Contemporary Theatre of Rhode Island, and The Trunk Space. He is currently working on a series of 50 plays about the 50 U.S. states. His website is AndyJBoyd.com, and he can be reached at [email protected].

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What is the history of equal rights in Hollywood? In A Piece of the Action: Race and Labor in Post–Civil Rights Hollywood (Columbia UP, 2019), Eithne Quinn, a senior lecturer in American Studies at the University of Manchester, explores the transitional years following the civil rights movement of the 1960s, in order to chart the struggle by Black film makers for rights, recognition and representation. The book combines analysis of on-screen representations, with research on both the production and political economy of Hollywood films. Attentive to questions of gender and race, alongside a critical perspective on Hollywood’s myths of equality and diversity, the book will be essential reading across arts, humanities, and social sciences, as well as for anyone interested in understanding why inequality persists in Hollywood today.

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In Italian Neorealism: A Cultural History (University of Toronto Press, 2020), Charles Leavitt steps back from the micro-histories focusing more narrowly on, for example, Italian cinema so as to weave together divers cultural strands (literature, the visual arts, drama, journalism, poetry, essays) into a tapestry of historical practice. Which realisms are being invoked under the category of “Neorealism” as it was plied and applied in the mid-20th Century? What were the aims of these realisms? What did they accomplish? Each of Italian Neorealism’s four chapters sketches answers to these questions by approaching a corpus that interweaves some very well-known texts from Italian Neorealism (Rome, Open City, Bicycle Thieves, La terra trema, etc.) with texts that have enjoyed scantier critical attention (like films from the period that have not widely circulated, for example) or which hail from extra-cinematic and even extra-Italian contexts. The result is an eminently readable study whose broad embrace does not sacrifice meticulous attention to detail.

Ellen Nerenberg is a founding editor of g/s/i-gender/sexuality/Italy and reviews editor of the Journal of Italian Cinema and Media Studies. Recent scholarly essays focus on serial television in Italy, the UK, and North America; masculinities in Italian cinema and media studies; and student filmmakers. Her current book project is La nazione Winx: coltivare la futura consumista/Winx Nation: Grooming the Future Female Consumer, a collaboration with Nicoletta Marini-Maio (forthcoming, Rubbettino Editore, 2020). She is President of the American Association for Italian Studies.

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In Latinx Art: Artists, Markets, and Politics (Duke UP, 2020), Arlene Dávila draws on numerous interviews with artists, dealers, and curators to explore the problem of visualizing Latinx art and artists. Providing an inside and critical look of the global contemporary art market, Dávila's book is at once an introduction to contemporary Latinx art and a call to decolonize the art worlds and practices that erase and whitewash Latinx artists. Dávila shows the importance of race, class, and nationalism in shaping contemporary art markets while providing a path for scrutinizing art and culture institutions and for diversifying the art world.

David-James Gonzales (DJ) is Assistant Professor of History at Brigham Young University. He is a historian of migration, urbanization, and social movements in the U.S., and specializes in Latina/o/x politics and social movements. Follow him on Twitter @djgonzoPhD.

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From glove puppets of Chinese origin and Hakka religious processions, to wartime political theatre and contemporary choirs and dance groups, the diverse performance practices of ethnic Chinese communities throughout Southeast Asia highlight the complexity of minority self-representation and sense of identity of a community that is often considered solely in socioeconomic terms. Each performance form is placed in its social and historical context, highlighting how Sino-Southeast Asian groups and individuals have represented themselves locally and nationally to the region's majority populations as well as to state power.

In this episode, Dr Josh Stenberg talks to Dr Natali Pearson about Sino-Southeast Asian self-representation in performance arts, and challenges essentialist readings of ethnicity or minority. In showing the fluidity and adaptability of Sino-Southeast Asian identities as expressed in performance and public display, Dr Stenberg enriches our understanding of Southeast Asian cultures and art forms, Southeast Asian Chinese identities, and transnational cultural exchanges.

Dr Josh Stenberg is a Senior Lecturer in Chinese Studies in the School of Languages and Cultures at the University of Sydney. A scholar of Sino-Southeast Asian performance and literature, he examines the intersection of ethnic and political identity through the cultural performance of minority ethnic communities. He is the author of Minority Stages: Sino-Indonesian Performance and Public Display (University of Hawaii Press, 2019). In 2020, Dr Stenberg was awarded an Australian Research Council (ARC) Discovery Early Career Researcher Award (DECRA) to conduct further research into the reception of China's state-funded cultural diplomacy initiatives among Overseas Chinese communities in multicultural societies.

For more information or to browse additional resources, visit the Sydney Southeast Asia Centre’s website here.

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In his new book, We're Not Here to Entertain: Punk Rock, Ronald Reagan, and the Real Culture War of 1980s America (Oxford UP, 2020), Kevin Mattson documents punk rock in the early 1980s through a comprehensive look into the music, zines, films, bands, and punk Do-It-Yourself (DIY) tactics. He shows how widespread the punk movement was in creating a counterculture that challenged the conservative narrative of 1980s America. Mattson places the punk countercultural movement into the wider context of Reagan’s America and the cultural war that his presidency created. In opposition to Reagan’s panic narratives of nuclear wars, his tax cuts for the rich, and cuts to public education and other social services, punks saw themselves as everything they rejected about the US. Mattson’s extensive archival research into the punk counterculture makes for an informative and captivating read into the larger ways in which punk impacted American cultural identities and challenged 1980s conservativism.

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What if the Haitian Revolution, perhaps the only “successful” Black revolution in history, weren’t over?

On this episode of the New Books Network, Dr. Lee Pierce (s/t) interviews Dr. Jeremy Matthew Glick (h/h) about how and why the Haitian Revolution, which was the only slave rebellion to achieve state sovereignty, remains an inspired site of investigation for artists and activist-intellectuals in the African Diaspora.

In The Black Radical Tragic: Performance, Aesthetics, and the Unfinished Haitian Revolution (NYU Press, 2016), Dr. Glick examines twentieth-century performances engaging the revolution as laboratories for political thinking. Asking readers to consider the revolution less a fixed event than an ongoing and open-ended history resonating across the work of Atlantic world intellectuals, Glick argues that these writers use the Haitian Revolution as a watershed to chart their own radical political paths, animating, enriching, and framing their artistic and scholarly projects. Spanning the disciplines of literature, philosophy, and political thought, The Black Radical Tragic explores work from Lorraine Hansberry, Sergei Eisenstein, Edouard Glissant, Malcolm X, and others, ultimately enacting a speculative encounter between Bertolt Brecht and C.L.R. James to reconsider the relationship between tragedy and revolution. In its grand refusal to forget, The Black Radical Tragic demonstrates how the Haitian Revolution has influenced the ideas of freedom and self-determination that have propelled Black radical struggles throughout the modern era.

Read Slavoj Zizek’s review of The Black Radical Tragic in the Los Angeles Review of Books: “A Prophetic Vision of Haiti’s Past”

We hope you enjoyed listening as much as we enjoyed chatting about this fascinating book. Connect with your host, Lee Pierce, on Twitter, Instagram, and Facebook for interview previews, the best book selfies, and new episode alerts.

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In this chronologically and thematically ambitious study of racial passing literature, Julia Charles highlights how mixed-race subjects invent cultural spaces for themselves—a place she terms that middle world. Charles, an Assistant Professor in the Department of English at Auburn University, focuses on the construction and performance of racial identity in works by writers from the antebellum period through Reconstruction, connecting these passing or crossing narratives to more contemporary examples of racial performativity - including Rachel Dolezal and her Black-passing controversy, the FX show Atlanta, and the musical Show Boat.

Provocative and theoretically innovative, Charles’s That Middle World: Race, Performance, and the Politics of Passing (UNC Press, 2020) offers a nuanced approach to African American passing literature and examines how mixed-race performers articulated their sense of selfhood and communal belonging in both past and present.

James West is a Leverhulme Early Career Fellow in History at Northumbria University, UK. He is the author of Ebony Magazine and Lerone Bennett Jr.: Popular Black History in Postwar America (University of Illinois Press, 2020)

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Megan Sandberg-Zakian’s There Must Be Happy Endings: On a Theater of Optimism & Honesty (3rd Thing Press, 2020) makes a powerful case for “militant optimism” in an age of chaos. The essays in this volume discuss the plays of August Wilson, Hedwig and the Angry Inch, and creating a rehearsal room conducive to creativity. Sandberg-Zakian weaves this analysis of theatrical craft with a deeply personal coming of age story, touching on the history of genocide on both sides of her family (Jewish and Armenian), her identity as a queer woman, and the process of finding an artistic voice of her own after growing up in the rehearsal rooms of her director/playwright father. This is a book that will provide insight and inspirations to anyone interested in telling stories that are both optimistic and true.

Andy Boyd is a playwright based in Brooklyn, New York. He is a graduate of the playwriting MFA program at Columbia University, Harvard University, and the Arizona School for the Arts. His plays have been produced, developed, or presented at IRT, Pipeline Theatre Company, The Gingold Group, Dixon Place, Roundabout Theatre, Epic Theatre Company, Out Loud Theatre, Naked Theatre Company, Contemporary Theatre of Rhode Island, and The Trunk Space. He is currently working on a series of 50 plays about the 50 U.S. states. His website is AndyJBoyd.com, and he can be reached at [email protected].

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Soul is one of those concepts that is often evoked, but rarely satisfactorily defined. In The Meaning of Soul: Black Music and Resilience Since the 1960s (Duke University Press 2020), Emily J. Lordi takes on the challenge of explaining “soul,” through a book that zooms in and out between sweeping ideas about suffering and resilience in Black culture and fine-grained, close readings of individual performances by soul musicians. Rather than centering big musical gestures and major popular hits, Lordi pays close attention to musical practices like falsetto, ad-libs, and false endings to ground her analysis. She focuses on artists that are some of the most recognizable Black singers in the United States such as Aretha Franklin, Nina Simone, and James Brown, but she also spends a lot of time with more obscure figures including Donny Hathaway and Minnie Riperton. She ends the book with a powerful contemplation of how the logic of soul, born in the political and social tumult of the late 1960s, still resonates with some of today’s most popular women singers.

Emily J. Lordi is an Associate Professor of English at Vanderbilt University. The Meaning of Soul is her third book. In addition to her scholarly work, she is an active cultural critic and music journalist published in venues such as Billboard, The Atlantic, and NPR.

Kristen M. Turner is a lecturer in the music and honors departments at North Carolina State University. Her research centers on race and class in American popular entertainment at the turn of the twentieth century.

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