1,721,054 research outputs found
Alexa Alice Joubin Receives the Martin Luther King Jr. Award
No full textAlexa Alice Joubin received the Rev. Dr. Martin Luther King, Jr. Award, which recognizes Professor Joubin’s “contributions to social justice and inclusive excellence ” that exemplify “the ideals that Dr. King espoused,” particularly “community-based social justice organizing rooted in non-violence.” The MLK Award comes on the heel of her bell hooks Legacy Award. On April 7, 2023, Alexa Alice Joubin was named the inaugural recipient of the bell hooks Legacy Award, also in 2023
Fulbright Snapshot: Snapshot: Shakespeare & East Asia by Alexa Alice Joubin, March 24, 2021
No full textShakespeare and East Asia (Oxford, 2021) explores distinctive themes in post-1950s Asian-themed performances and adaptations of Shakespeare. In this Snapshot, Alexa Alice Joubin discusses the book and the importance of wider research into Global Shakespeares
"Deconstructing Compulsory Realpolitik in Cultural Studies: An Interview with Alexa Alice Joubin," American Journal of Chinese Studies 28.2 (October, 2021): 115-130.
No full textHow might we de-colonize hegemonic knowledge production about East Asia and its relationship with the West? This interview with Alexa Alice Joubin draws on new perspectives on cultural exchange in her book, Shakespeare and East Asia (Oxford University Press, 2021), which promotes treatment of Asian performing arts as original epistemologies rather than footnotes to the white, Western canon, and theory. We also present her latest thinking on multidisciplinarity. Her work, including Race (Routledge, 2019), has sought to deconstruct what she calls “compulsory realpolitik”—the conviction that the best way to understand non-Western cultures is by interpreting their engagement with pragmatic politics. In tandem with Anglo-Eurocentrism, she argues, compulsory realpolitik leads to the habitual privileging of the nation-state as a unit to organize knowledge
"Do English Audiences Have the Toughest Time with Shakespeare?," Quarto: The Magazine of the Shakespeare Theatre Association, Spring/Summer, 2023
No full textAll the world’s a stage, but the irony is the rest of the globe often has an easier time understanding William Shakespeare than English speakers. “English audiences are at a disadvantage because the language has evolved and is more and more distant. They need footnotes, props and staging to understand,” said Alexa Alice Joubin, a Shakespeare scholar at George Washington University. ::: http://www.stahome.org/quart
"The Tempest as Trans Archive: An Interview with Scholar Mary Ann S. Saunders." Borrowers and Lenders: The Journal of Shakespeare and Appropriation 14.2 (2023)
No full textThis interview with Dr. Mary Ann Saunders, conducted by Alexa Alice Joubin, offers a new interpretation of Julie Taymor's 2010 film The Tempest. Bringing her life experience to bear on cisgender biases in non-trans artists' works, Saunders proposes a new interpretation of Ariel, as performed by Ben Whishaw, as a trans woman who is "both beautiful and bittersweet." Reading Shakespeare as a "trans archive" enables us to more effectively interrogate the long history of associating trans bodies with monstrosity and bodies in distress. • How might we read a Shakespeare play through transgender perspectives? Dr. Mary Ann S. Saunders, a writing and discourse studies scholar in the School of Journalism, Writing, and Media at the University of British Columbia, Vancouver, offers enlightening answers at the crossroads of medicine, trans, and Shake-speare studies. She spoke to Alexa Alice Joubin about her reading of Ariel and Julie Taymor's film The Tempest, bringing her life experience to bear on cisgender biases in non-trans artists' works. ::: https://borrowers-ojs-azsu.tdl.org/borrowers/article/view/35
"'The winter of our discontent': An Interview with Playwright Terri Power." Borrowers and Lenders: The Journal of Shakespeare and Appropriation 14.2 (2023)
No full textThis interview with Terri Power, conducted by Alexa Alice Joubin, focuses on the representations of trans masculinity in Power's play Drag King Richard III. For nearly two decades Power has been at the forefront of trans and queer representation in performances of Shakespeare. Weaving a personal story of the 1990s with Shakespeare’s early modern disability narrative, Power’s adaptation reveals that the gender binary was enforced even in queer circles in the 1990s, coding lesbian identities as either butch or femme. The interview concludes with her suggestions for future work in transgender theater based on her collaboration with trans actors beyond Richard III. ::: https://borrowers-ojs-azsu.tdl.org/borrowers/article/view/33
"Identities in Flux: An Interview with Jess Chanliau." Borrowers and Lenders: The Journal of Shakespeare and Appropriation 14.2 (2023)
No full textThis interview with non-binary actor Jess Chanliau, conducted by Alexa Alice Joubin, explores genderplay onstage. A bilingual actor, Chanliau has played Viola, "an intrinsically trans character" in Twelfth Night and a queer Mercutio in Romeo and Juliet. They spoke candidly on their experience of either being toke-nized or being cast frequently as cisgender women. Despite being asked disproportionately to perform the emotional labor of speaking on behalf of trans communities, Chanliau has created meaningful dialogues with industry professionals to address equity issues regarding gender, race, and disability. They reflect on the duality of being marginalized while enjoying certain privilege and offer suggestions on how to hold ourselves accountable and help to dismantle transphobic practices in the entertainment industry. ::: https://borrowers-ojs-azsu.tdl.org/borrowers/article/view/33
"Identities in Drag: An Interview with King Sammy Silver." Borrowers and Lenders: The Journal of Shakespeare and Appropriation 14.2 (2023)
No full textThis interview with King Sammy Silver, conducted by Alexa Alice Joubin and Terri Power, explores drag as a stage practice. A London-based actor and YouTube personality, he represents a new generation of trans artists. He has worked with Power on multiple Shakespeare productions at Bath Spa University in the UK and elsewhere, and has been influenced by Power's Drag King Richard III. He has played Valentine in Two Gentlemen of Verona, Viola in Twelfth Night, Capulet and Tybalt in Romeo and Juliet, and Benedict in Much Ado About Nothing. He reflects on Shakespeare's role in trans theater today as well as how drag can deconstruct toxic masculinity. ::: https://borrowers-ojs-azsu.tdl.org/borrowers/article/view/33
Joubin receives the bell hooks Legacy Award
Full text linkAlexa Alice Joubin was named the inaugural recipient of the bell hooks Legacy Award on April 7, 2023. The Popular Culture Association and American Culture Association (PCA / ACA) established the award to commemorate the late feminist writer and activist bell hooks (1952-2021) who has authored more than 30 books. The award recognizes Joubin’s achievements in research, teaching, and service, particularly her efforts to “dismantle intersectional systems of oppression with the distinct goals of uplifting members of historically marginalized populations and striving for social justice, all while teaching compassion and love” through her public humanities work, open-access publications (such as her own Screening Shakespeare), and inclusive pedagogies. The committee recognized the global impact of Joubin’s “groundbreaking work that speaks to our moment in history and our hope for the future” and the ways in which her “academic career is a stellar example of intersectional criticism.
Sinophone Adaptations of Shakespeare: An Anthology, 1987-2007, ed. Alexa Alice Joubin (Palgrave, 2022)
No full textShakespeare’s Hamlet, Macbeth, and King Lear, three of the most frequently adapted tragedies, have inspired incredible work in the Sinophone theatres of Hong Kong, Taiwan, and China for over two centuries as political theatre, comedic parody, Chinese opera, and avant-garde theatre. Gender roles in the plays take on new meanings when they are embodied by actors whose new accents expand the characters’ racial identities.
Each of this book’s three sections offers contrasting adaptations of each tragedy for comparative analysis. This anthology showcases the directors’ methodic transformations both Shakespeare and Sinophone performance traditions. Organized thematically to address the cultural exigencies between 1987 and 2007, this collection of translated plays showcases some gems of Sinophone cultures that stand at the intersection of East Asian and Anglophone dramas.
Between 1987, when Chairman Deng Xiaoping reaffirmed “socialist market economy” as the guiding principle of China’s development and when Taiwan’s martial law was lifted by President Chiang Ching-kuo, and 2007, when the first competitive Chief Executive election changed Hong Kong’s political culture, these three tragedies were staged in multiple traditional and modern performance genres. They were informed by the anxieties and cultural dynamics in China, Hong Kong, and Taiwan during this period. The year of 1987 was the beginning of the internationalization of Sinophone Shakespeare. The multinational technology company Huawei was founded in 1987, a landmark event in terms of China’s rise internationally
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