TheaTre.edu Bonnie Marranca No sooner had PAJ 103 been published, featuring “The Education of the Artist” sec- tion of articles decrying the tenuous professional rewards of MFAs in playwriting and acting, and theatre training tied to the “market” rather than enabling artistic experimentation, than The Chronicle of Higher Education appeared with “An Argument for Eliminating the Doctorate in Theater” (一月 15, 2013). On a daily

Educating artists Bonnie Marranca T his issue of PAJ 103 highlights our ongoing interest in arts education in a spe- cial section entitled “The Education of the Artist.” In recent years considerable attention has focused on rethinking the arts and the university, which have always had an uneasy relationship, while the number of arts training programs has grown decade by decade. 尤其, discussion in

The Year of John Cage Bonnie Marranca The publication of PAJ 102 coincides with the worldwide celebrations of John Cage’s birth on September 12, a century ago. We highlight his extraordinary legacy in a special section of the journal that brings together Claire Mac- Donald’s fascinating account of Cage’s influence in England, and the transatlantic exchanges at the experimental school Dartington Hall (Devon), among European,

EDITORIAL Being Here—PAJ at 100 Bonnie Marranca As I write this preface to the 100th issue of PAJ, Occupy Wall Street has already been influential enough for the movement to spread across the U.S., violently at times, as more and more citizens are drawn into its message of social justice. Similar interventions have broken out in cities on several continents, protesting the corruption of democracy

Performance on the Blockchain Zhang Huan and EchoX Freda Fiala In 2002, Chinese artist Zhang Huan crossed through New York’s streets wearing a bodysuit made of raw meat that shaped him with bulging contours and ex- panded his presence to into a humanoid, Hulk-like figure. 到了这个时候, it had been four years since Zhang left China. He had previously studied at the Central Academy

Great Lights, Seen in Darkness The Passion of Milo Rau and Yvan Sagnet Joseph Cermatori But my subject is hope, the theological virtue, which I would distinguish very sharply from what I have called optimism. Hope implies a felt lack, an absence, a yearning. —Marilynne Robinson, “Considering the Theological Virtues” “Questa è l’ora della fine / Romperemo tutte le vetrine” [This is the final hour

Little Amal’s New York Journey The Big Puppet in the Big Apple Claudia Orenstein Throughout the summer of 2021, I bemoaned the Covid pandemic concerns and other practical and financial issues that kept me from the alluring dream of joining Little Amal on her international trek. Little Amal, an eleven-foot- tall puppet of a nine-year-old Syrian girl, designed and crafted by South Africa’s brilliant Handspring

Singing in Dark Times Report from Berlin Matt Cornish THEY LIVE It was early October in Berlin, cold and damp, but not uncomfortable, as I rode my bike from Kreuzberg into Mitte, across the Spree and under the S-Bahn to the Berliner Ensemble. Outside the Theater am Schiffbauerdam, I parked near the Brecht statue and walked over to wait in a long line. When it

The Diaries of Judith Malina, 1958–1971 (Excerpt) Edited by Kate Bredeson Activist, director, actor, and poet Judith Malina (1926–2015), co-founder and director with Julian Beck of The Living Theatre, meticulously detailed her every day in diaries that she kept from her childhood until her final months. Born in Kiel, 德国, Malina immigrated to the U.S. with her family in 1929, and her earliest diaries record

Dreaming A Public Poem Alain Arias-Misson The Public Poem is a form I invented in 1967 and have performed in many European cities over the decades. For the last six years in Spain, I had been making “concrete” poems, seeing the sheet of paper as a two-dimensional surface which the typewriter could occupy spatially, then placing Letraset let- ters on superimposed plexiglass sheets that provide

Breakthrough into Performance A Touchstone Work of Late Modernist American Poetry Jerome McGann I T he first public radio station in the United States, KPFA in Berkeley, Califor- 尼亚, began broadcasting in April 1949. A legendary counter-cultural enter- prise, its initial program months aired a daily fifteen-minute performance of one of the most consequential literary works of late Modernist world literature, Jaime de Angulo’s ethnopoetic

David Byrne and the Utopian Imagination Benjamin Gillespie We’re not fixed, our brains can change. Who we are thankfully extends beyond ourselves . . . to the connections between all of us. —David Byrne, American Utopia F or as long as I can remember, I’ve been an enthusiast of singer-songwriter David Byrne. At a young age, my father introduced me to his music through the

Hell’s Kitchen Paintings Richard Maxwell I take photos on my phone. I use the photos as an atmospheric reference to go back to. Impressed with the empty streets of Hell’s Kitchen, my home for the last twenty years, I started taking photos as I walked my dog. Hell’s Kitchen had recently been overrun by Times Square and luxury apartments. Here was a chance for me

杂志, 一月 14, 1959 Julian Beck My father, Julian Beck, co-founder of The Living Theatre, kept workbooks—in which he made journal entries—starting in 1952, just after he and my mother, Judith Malina, began Living Theatre productions at the Cherry Lane Theatre in New York’s Greenwich Village. He continued these workbooks until his death in 1985, with a hiatus between 1965 和 1969, during which time

Parallel Seizure Art and Culture at the End of Days Vaughan Pilikian T here is a photograph from early on in the spread of coronavirus that shows the basement of a shopping mall somewhere in Asia, seen from above. The tiled floor, framed by two escalators, has been cleared of shoppers, the only vestiges of regular commerce a poster of a woman on a floor

Global Voices in the Time of Coronavirus Selected and edited by Benjamin Gillespie, Sarah Lucie, and Jennifer Joan Thompson In March 2020, Frank Hentschker, director of the Martin E. Segal Theatre Center at The Graduate Center, CUNY, in New York City, began his curated SEGAL TALKS series, hour-long daily conversations with theatre artists and cultural thinkers from around the globe. Hentschker’s aim in conceiving “In

Essential Ruptures Herbert Blau’s Power of Mind Joseph Cermatori F rom the 1950s until today, some six years after his death, Herbert Blau has been regarded as one of the United States’ most significant theatre intel- 知识分子. That rare combination of theorist, 教育家, and artist, his career spanned more than six decades, twelve books, three performance companies, numerous distinguished academic appointments, and countless students and

Our Town, 2019 Bonnie Marranca I have always admired Thornton Wilder’s innovative clarity in opening a win- dow onto ordinary life while there was always something extraordinary and profound at the indiscernible far away. Seeing Amy Bennett’s Our Town, one of the new paintings in her “Nuclear Family” exhibit in Chelsea this summer, I was confronted by an all-too timely imaginative new staging idea of