This article was accepted into the corpus but its outbound wikilinks were never NER-processed — typical at the deepest BFS hop or when the run's entity cap was reached. No expansion funnel to show.
| Performing Arts Journal | |
|---|---|
| Title | Performing Arts Journal |
| Discipline | Performing arts |
| Language | English |
| Publisher | Independent scholarly press |
| History | 1976–present |
| Frequency | Quarterly |
| Issn | 0160-5106 |
Performing Arts Journal Performing Arts Journal is a scholarly periodical focused on theatre studies, dance criticism, and performance art analysis. It publishes essays, interviews, translations, and primary documents that engage with practitioners such as Jerzy Grotowski, Pina Bausch, Merce Cunningham, Tadeusz Kantor, and Antonin Artaud while addressing contexts including Broadway Theatre, West End Theatre, La Scala, Sydney Theatre Company, and Lincoln Center. The journal bridges historical research on figures like Konstantin Stanislavski, Suzuki Tadashi, Bertolt Brecht, and Vsevolod Meyerhold with contemporary practices from companies such as The Wooster Group, Ballets Russes, Mikhail Baryshnikov, and Cirque du Soleil.
The journal foregrounds work on practitioners such as Samuel Beckett, Tennessee Williams, Lorraine Hansberry, August Wilson, Henrik Ibsen, and Anton Chekhov alongside directors like Peter Brook, Robert Wilson, Julie Taymor, Ariane Mnouchkine, and Ellen Stewart. It juxtaposes scholarship on institutions including Royal Shakespeare Company, Comédie-Française, Compañía Nacional de Teatro, Teatro Colón, and Shakespeare's Globe with criticism of festivals such as Edinburgh Festival Fringe, Avignon Festival, Venice Biennale, Spoleto Festival USA, and Festival d'Automne à Paris. Comparative work connects movements like Expressionism, Surrealism, Futurism, Dada, and Constructivism to contemporary creators like Sonnambula, Meredith Monk, Anne Teresa De Keersmaeker, Bill T. Jones, and Pina Bausch.
Founded in 1976 by editors with ties to institutions such as New York University, Columbia University, Yale School of Drama, Harvard University, and University of California, Berkeley, the journal developed alongside archival projects at The New School, Museum of Modern Art, Library of Congress, British Library, and Bibliothèque nationale de France. Early issues documented debut seasons by companies including Judson Dance Theater, Pina Bausch Tanztheater Wuppertal, Tadeusz Kantor's Cricot 2, Wooster Group performances in downtown New York City, and translations of manifestos by Antonin Artaud, Jacques Copeau, Edward Gordon Craig, and Adolphe Appia. Over time the journal has published on controversies tied to venues like Metropolitan Opera, Guthrie Theater, Arena Stage, and events such as the Prague Spring's cultural aftermath and the May 1968 uprisings' effects on performance.
Content ranges from archival rediscoveries of manuscripts connected to Bertolt Brecht and Jerzy Grotowski to theoretical engagement with texts by Judith Butler, Michel Foucault, Roland Barthes, Jacques Derrida, and Walter Benjamin. Articles consider choreography from Martha Graham, Isadora Duncan, Paul Taylor, Alvin Ailey, and Rudolf Nureyev; dramatic literature by Sarah Kane, Caryl Churchill, Arthur Miller, Eugene O'Neill, and Sophocles; and scenography practices referencing Adolphe Appia, Gordon Craig, Es Devlin, and Sasha Berlind. Interviews feature practitioners such as Robert Lepage, Lynne Meadow, John Doyle, Julie Taymor, and Oskar Eustis, while translations include works by Anton Chekhov, August Strindberg, Federico García Lorca, and Heiner Müller.
The editorial board has included scholars and critics from University of Oxford, King's College London, University of Toronto, University of Sydney, and Humboldt University of Berlin. Submissions undergo evaluation by external referees with expertise in areas represented by journals such as TDR (The Drama Review), Dance Research Journal, Theatre Journal, Modern Drama, and Cambridge Opera Journal. The policy emphasizes archival rigor, citation practices compatible with standards used by Oxford University Press, Routledge, Palgrave Macmillan, and Cambridge University Press, and ethical considerations aligned with guidelines from Modern Language Association and American Historical Association.
Issues are produced quarterly and distributed to libraries and institutions including New York Public Library, British Library, Bibliothèque nationale de France, Library of Congress, National Library of Australia, and university collections at Yale University, Princeton University, University of Chicago, Stanford University, and University of California, Los Angeles. Back issues have been cited in monographs published by Oxford University Press, Routledge, University of Michigan Press, Columbia University Press, and Duke University Press. The journal appears in indexes such as JSTOR, Project MUSE, Scopus, Web of Science, and library catalogs of WorldCat.
Scholars from programs at Juilliard School, Royal Academy of Dramatic Art, Bard College, School of the Art Institute of Chicago, and The Actors Studio reference the journal in studies of performance theory, dramaturgy, and choreography. Critical reception in outlets including The New York Times, The Guardian, The Telegraph, Le Monde, and Frankfurter Allgemeine Zeitung has highlighted its role in publishing primary documents by figures like Jerzy Grotowski and Pina Bausch and in fostering debates around productions at Metropolitan Opera, Royal Opera House, and Glyndebourne. Awards and recognitions cited in scholarship tie to prizes such as the Pulitzer Prize, Tony Award, Laurence Olivier Award, and Bessie Awards.
The journal intersects with studies in film studies through analyses of directors like Federico Fellini, Ingmar Bergman, Luis Buñuel, Akira Kurosawa, and Stanley Kubrick; with musicology via scholarship on Igor Stravinsky, John Cage, Philip Glass, Gustav Mahler, and Richard Wagner; and with visual arts through examinations involving Marcel Duchamp, Jackson Pollock, Josef Beuys, Marina Abramović, and Yayoi Kusama. It fosters dialogue with departments and centers such as Center for Performance Research, Performance Studies Department at NYU, Dance Division at Juilliard, Royal Conservatory of The Hague, and Institut del Teatre.
Category:Academic journals