Articles (Peer Reviewed) by Adham Hafez
THEATER TOPICS VOL31 Theater Essentials in Three Acts: Collaboration, Care, Time Shawn Chua, Sozita Goudouna, Adham Hafez, Eero Laine, Sarah Lucie, Juliana Moraes, Malin Palani, Rumen Rachev, and Leah Sidi Johns Hopkins University Press, 2021
A Note from the Editor: Essentials John Fletcher
Theatre Topics, Volume 31, Number 2, July 2021, ... more A Note from the Editor: Essentials John Fletcher
Theatre Topics, Volume 31, Number 2, July 2021, pp. ix-xii (Article) Published by Johns Hopkins University Press
A Note from the Editor: Essentials
As those readers who saw the original call for papers know, my initial plans for a 2021 special issue centered on the notion of intimacy. I imagined a slate of pieces about intimacy choreography on stage and screen, intimacy awareness in theatre classrooms, and intimate ruminations about the ever-fascinating transactions between performers and audiences, between dramatic events and the places that house them, and between projects that speak to and with one another across time and space. That was in March 2020.
Essentials in Three Acts: Collaboration, Care, Time by Shawn Chua, Sozita Goudouna, Adham Hafez, Eero Laine, Sarah Lucie, Juliana Moraes, Malin Palani, Rumen Rachev, and Leah Sidi
The following is not an article. Nor is it a play, despite its structure. To some extent, it is a performance and an experiment. It was written collaboratively over a three-month period by a group of performance-makers and performance scholars in response to the difficulties of writing and studying during the pandemic. Following a cancelled international conference, we wrote from five different continents in moments of crisis shaped by personal, political, and geographical particulari- ties. Meeting over Zoom, we shared our fears for our industries, our communities, and our personal griefs. We also sought to think together in response to Theatre Topics’ call for articles on “Theatre Essentials.” Prior to this work, many of us did not know one another, although some had worked together through other projects and academic gatherings. The call to consider the essentials of the- atre has opened possibilities for us to examine what remains of theatre and our own work, as well as how a discipline and field might coalesce when gathering in person is considered a dangerous act.
Papers by Adham Hafez
Shifting Corporealities in Contemporary Performance, 2018
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Articles (Peer Reviewed) by Adham Hafez
Theatre Topics, Volume 31, Number 2, July 2021, pp. ix-xii (Article) Published by Johns Hopkins University Press
A Note from the Editor: Essentials
As those readers who saw the original call for papers know, my initial plans for a 2021 special issue centered on the notion of intimacy. I imagined a slate of pieces about intimacy choreography on stage and screen, intimacy awareness in theatre classrooms, and intimate ruminations about the ever-fascinating transactions between performers and audiences, between dramatic events and the places that house them, and between projects that speak to and with one another across time and space. That was in March 2020.
Essentials in Three Acts: Collaboration, Care, Time by Shawn Chua, Sozita Goudouna, Adham Hafez, Eero Laine, Sarah Lucie, Juliana Moraes, Malin Palani, Rumen Rachev, and Leah Sidi
The following is not an article. Nor is it a play, despite its structure. To some extent, it is a performance and an experiment. It was written collaboratively over a three-month period by a group of performance-makers and performance scholars in response to the difficulties of writing and studying during the pandemic. Following a cancelled international conference, we wrote from five different continents in moments of crisis shaped by personal, political, and geographical particulari- ties. Meeting over Zoom, we shared our fears for our industries, our communities, and our personal griefs. We also sought to think together in response to Theatre Topics’ call for articles on “Theatre Essentials.” Prior to this work, many of us did not know one another, although some had worked together through other projects and academic gatherings. The call to consider the essentials of the- atre has opened possibilities for us to examine what remains of theatre and our own work, as well as how a discipline and field might coalesce when gathering in person is considered a dangerous act.
Papers by Adham Hafez
Theatre Topics, Volume 31, Number 2, July 2021, pp. ix-xii (Article) Published by Johns Hopkins University Press
A Note from the Editor: Essentials
As those readers who saw the original call for papers know, my initial plans for a 2021 special issue centered on the notion of intimacy. I imagined a slate of pieces about intimacy choreography on stage and screen, intimacy awareness in theatre classrooms, and intimate ruminations about the ever-fascinating transactions between performers and audiences, between dramatic events and the places that house them, and between projects that speak to and with one another across time and space. That was in March 2020.
Essentials in Three Acts: Collaboration, Care, Time by Shawn Chua, Sozita Goudouna, Adham Hafez, Eero Laine, Sarah Lucie, Juliana Moraes, Malin Palani, Rumen Rachev, and Leah Sidi
The following is not an article. Nor is it a play, despite its structure. To some extent, it is a performance and an experiment. It was written collaboratively over a three-month period by a group of performance-makers and performance scholars in response to the difficulties of writing and studying during the pandemic. Following a cancelled international conference, we wrote from five different continents in moments of crisis shaped by personal, political, and geographical particulari- ties. Meeting over Zoom, we shared our fears for our industries, our communities, and our personal griefs. We also sought to think together in response to Theatre Topics’ call for articles on “Theatre Essentials.” Prior to this work, many of us did not know one another, although some had worked together through other projects and academic gatherings. The call to consider the essentials of the- atre has opened possibilities for us to examine what remains of theatre and our own work, as well as how a discipline and field might coalesce when gathering in person is considered a dangerous act.