The Power of Unheard Voices: A note from the Editors
Jennifer Goff and Julia Moriarty
We, the editors of Etudes, have felt ourselves floundering in the last year. Based in the United States, we see a nation politically divided, replete with revelations of abuse, discrimination, and violence. All of this can result in a sense of hopelessness and frustration - even paralysis. But when the fog of frustration clears, we can look around to see the myriad ways here and abroad that people are standing up, standing together, and moving forward. And it was with that in mind that we sent out a call for our first issue featuring a themed section. In this section, we asked our contributors to address theatre that speaks truth to power, that stands up for unheard voices, and that pushes back against tyranny and injustice. With this issue, we wanted to celebrate theatre's power to affect the world around us and to serve as a mode of protest and amplification. In response to this call, we received many exciting and insightful articles that speak to versatility, vulnerability, and victory in a way that only theatre can. In "Lebanese Prison Drama," we get a peek into a drama therapy program that reveals biases within the Lebanese prison system and society at large, while allowing the inmates to reclaim and express a sense of identity and strength. In "Prometheus Unbound," two artists reflect on the creative process of two devised interpretations of Prometheus Bound, which they engaged as a commentary on contemporary social issues. And in "Transmediating the Tale," one director's interpretation of the violence against women inherent in the tale of Bluebeard is examined not only for its subversive content, but its revolutionary storytelling techniques.
In addition to the pieces that run along our theme, we were also impressed by much of the other excellent theatre scholarship that came through our inbox. Rising to the top were two articles executing deep dives into two landmark, but often overlooked, texts. In "Sentimentalism and the Stage," we investigate the identity-building aspects of the simple act of reading within the early American play The Contrast. And finally, in "New Historicists & Historical Advocates," the authorship debate over Sir Thomas More receives an insightful unpacking based on the rigors required of New Historicism, and the dangers of allowing individual agendas to creep into the inquiry.
As we close our third year of publication, we have also decided to add a section featuring profiles of our peer reviewers. These profiles are intended to expand the community that Etudes has begun to create, to highlight the variety of interests represented in our peer reviewers, and to give a little digital round of applause to the people whose contributions to building this publication have been immensely generous and absolutely instrumental.
Since its inception, Etudes has had the aim of opening doors, opening conversations, and even opening minds. The articles in this issue are expressly in line with those goals as they highlight unique perspectives about a diverse sampling of theatre practice, literature, and scholarship. It is with these perspectives in mind that we look to the future, reassured by the potentiality within theatre to evoke change, shine a light on oppression, and speak truth to power.
In addition to the pieces that run along our theme, we were also impressed by much of the other excellent theatre scholarship that came through our inbox. Rising to the top were two articles executing deep dives into two landmark, but often overlooked, texts. In "Sentimentalism and the Stage," we investigate the identity-building aspects of the simple act of reading within the early American play The Contrast. And finally, in "New Historicists & Historical Advocates," the authorship debate over Sir Thomas More receives an insightful unpacking based on the rigors required of New Historicism, and the dangers of allowing individual agendas to creep into the inquiry.
As we close our third year of publication, we have also decided to add a section featuring profiles of our peer reviewers. These profiles are intended to expand the community that Etudes has begun to create, to highlight the variety of interests represented in our peer reviewers, and to give a little digital round of applause to the people whose contributions to building this publication have been immensely generous and absolutely instrumental.
Since its inception, Etudes has had the aim of opening doors, opening conversations, and even opening minds. The articles in this issue are expressly in line with those goals as they highlight unique perspectives about a diverse sampling of theatre practice, literature, and scholarship. It is with these perspectives in mind that we look to the future, reassured by the potentiality within theatre to evoke change, shine a light on oppression, and speak truth to power.
- JG & JM
