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This book is a compendium of resources largely by and for artists and scholars interested in engaging in conversations of justice, diversity, and historiography in the fields of theatre and performance studies.For these students, and for the future instructors in our field who will use this book, we hold a tripartite hope: to expand, to enable, and to provide access. In its whole, we intend for this book to provoke its readers to question the narratives of history that they’ve received (and that they may promulgate) in their artistic and scholarly work. We aim to question methods and ethics of reading present in the western mode of studying drama and performance history. The contributions in the book—not traditional chapters, but manifestos, experiences, articles, conversations, and provocations—raise questions and illuminate gaps, and they do not speak in a unified voice or from a static position. These pieces are written by artists, graduate students, teachers, administrators, and undergraduates; these are expressions of hope and of experience, and not of dogma.This book is aimed toward instructors of undergraduates, both graduate students and faculty at all levels of seniority within theatre and performance studies, as well as at artists and practitioners of the art that wish to find more just ways of viewing history.
Preface by Charles O’MalleyInterlude: What / Howby Willow JamesPart One: Our ArtThe Alternative Canon: A Collaborative Discussion Panel One: A Look at the PastA Conversation with Sharai Bohannon, David Clauson, Monty Cole, Lavina Jadhwani, Coya Paz, Denise Yvette Serna, and Dan SmithOn the Move: A Methodology for Teaching Theater Histories of Latinxs in the Americasby Nahuel TelleriaRoundtable on Teaching and Studying Asian Theatre in the American AcademyA Conversation with Arnab Banerji, Jyana S. Browne, Po-Hsien Chu, Tarryn Chun, Jennifer Goodlander, Claire Pamment, Shayoni Mitra, Yining Shang, and Satoko Shimazaki. Facilitated by Amanda CulpInterlude: An Intimate Night with Theatrical Black Excellence.by Cleopatra MavhungaPart Two: Our FieldThe Alternative Canon: A Collaborative Discussion Panel Two: Practices for the PresentA Conversation with David Clauson, Monty Cole, Kee-Yoon Nahm, Coya Paz, Denise Yvette Serna, and Dan SmithWhen We Meet: Intercultural Theatre Before and After the Coronavirus Pandemicby Nikhil MehtaChoosing the “Best” Translation for Plays Outside the Western Canon on the Syllabusby Kee-Yoon NahmThe Geography of Our Discernment: What it Means to Show Up as Our Full Selvesby Nithya Nagarajan and Zainab SyedFrom Dissertation Page to Stage: Applying Graduate Studies to the Regional Theater Production Processby Taylor BarfieldResponsible Gatekeeping: Or, Questions I'm Asking Myselfby Kari OlmonInterlude: The Lesser of Two Evils(?): How Not To Create Spaces for Brown Trans Artistryby Catherine Alam-NistPart Three: Our TeachingThe Alternative Canon: A Collaborative Discussion Panel Three: Toward Utopiaby A Conversation with Sharai Bohannon, David Clauson, Kee-Yoon Nahm, and Dan SmithHow Liberal Arts Theatre Programs Are Failing Their Students of Colorby Miranda HaymonInterlude: Double Communication: Artist as Critic and Critic as Artistby Lil WenkerClose Reading: How Do Texts Perform?by Ariel Sibert and Charles O’MalleyOn the Ethics of Reading: A Suggestion and a Pleaby Charles O’MalleyBetter Worlds through Pedagogy: A Vision for the Theater Classroomby Jake Allen, Kyara Mahlan, and Kelli Shermeyer with contributions by Allison Bialas and Elyssa ArmentaAdaptation as Historiography: An Approach for Undergraduate Teachingby Elise Morrison
