Humanities Decanted

A dialogue between Irwin Appel (Theater and Dance) and James Kearney (English) about Appel’s theater company, Naked Shakes, and their recent production of Twelfth Night, staged outside at UCSB’s Commencement Green in front of the lagoon.

Naked Shakes derives its rather provocative name from the principle that an actor in a bare theatrical space, along with meticulous attention to language, few technical elements, and the collective imagination of the audience, can create what Prospero in The Tempest calls “rough magic,” hopefully revealing the true heart, meaning, driving force, and original inspiration behind a Shakespeare play. This theatrical style demands actors who are highly skilled in voice and text, and simultaneously greatly expressive with their physicality and imaginations. Entrances and exits are not necessarily literal or linear; an actor can simply exit by pulling down a mask or picking up a musical instrument. With the inspiration and creative power of our choreographers and designers, Naked Shakes blends wild, actor-generated theatricality with razor sharp attention to language and imagery. As an audience member, one may, at times, experience a veritable visual feast while also being able to close one’s eyes and absorb the sound and text as if one were listening to a radio play or podcast.

Irwin Appel (he/him/his) is Professor and Chair of the Department of Theater and Dance at UCSB. As a professional director, Equity actor and composer/sound designer, he has worked with the Shakespeare Center of Los Angeles, Shakespeare Santa Cruz, Orlando Shakes, the New York, Oregon, Utah, New Jersey, and Colorado Shakespeare Festivals, Southwest Shakespeare Company, The Acting Company, Theatre For a New Audience, Hartford Stage, Indiana Repertory Theatre, Arizona Theatre Company, PCPA, both the National Theatre Conservatory and Colorado New Play Summit at the Denver Center of the Performing Arts, the Bread Loaf Acting Ensemble, and other prominent regional theaters. In Europe, he acted the role of Pandarus in Troilus and Cressida in the Czech Republic with the Prague Shakespeare Company at the renowned Estates Theatre where Mozart premiered Don Giovanni in 1787. He is the founder and artistic director of Naked Shakes, producing Shakespeare’s plays at UCSB, in the United States, and internationally since 2006. For Naked Shakes, he has created two major adaptations of Shakespeare’s plays: first, The Death of Kings, combining eight Shakespeare history plays from Richard II through Richard III into one event that has been performed in California, Arizona, and the Czech Republic. Second and most recently, he combined Shakespeare’s Antony and Cleopatra and Julius Caesar, along with parts of George Bernard Shaw’s Caesar and Cleopatra, into one play entitled Immortal Longings. He has also has led workshops and lectured about Naked Shakes in China, Greece, Switzerland, Poland, and the Czech Republic. He is a graduate of Princeton University and the Juilliard School. www.deathofkings.com

https://www.ihc.ucsb.edu/events/humanities-decanted/

Sponsored by the IHC’s Harry Girvetz Memorial Endowment

Irwin Appel: Naked Shakes

A dialogue between Jody Enders (French and Italian) and Leo Cabranes-Grant (Spanish and Portuguese, Theater and Dance) about Enders’ two new edited and translated volumes of medieval French comedies.

Trial by Farce: A Dozen Medieval French Comedies in Modern English (University of Michigan Press, 2023)
In Trial by Farce, prize-winning theater historian Jody Enders brings twelve of the funniest legal farces to English-speaking audiences in a refreshingly uncensored but philologically faithful vernacular. Newly conceived as much for scholars as for students and theater practitioners, this repertoire and its familiar stock characters come vividly to life as they struggle to negotiate the limits of power, politics, class, gender, and, above all, justice. Through the distinctive blend of wit, social critique, and breathless boisterousness that is farce, we gain a new understanding of comedy itself as form of political correction. In ways presciently modern and even postmodern, farce paints a different cultural picture of the notoriously authoritarian Middle Ages with its own vision of liberty and justice for all. Theater eternally offers ways for new generations to raise their voices and act.

Immaculate Deception and Further Ribaldries: Yet Another Dozen Medieval French Plays in Modern English (University of Pennsylvania Press, 2022)
In the sacrilegious world of Immaculate Deception, the third volume in a series of stage-friendly translations from the Middle French, twelve engagingly funny satires target religious hypocrisy in that in-your-face way that only true slapstick can muster. There is literally nothing sacred. Why this repertoire and why now? The current political climate has had dire consequences for the pleasures of satire at a cultural moment when we have never needed it more. It turns out that the proverbial Dark Ages had a lighter side; and France’s over 200 rollicking, frolicking, singing, and dancing comedies—more extant than in any other vernacular—have waited long enough for their moment in the spotlight. They are seriously funny: funny enough to reclaim their place in cultural history, and serious enough to participate in the larger conversation about what it means to be a social influencer, then and now. Rather than relegate medieval texts to the dustbin of history, an unabashedly feminist translation can reframe and reject the sexism of bygone days by doing what theater always invites us to do: interpret, inflect, and adapt.

Jody Enders is Distinguished Professor of French at UC Santa Barbara and Director of The Public Speaking Initiative.

https://www.ihc.ucsb.edu/events/humanities-decanted/

Sponsored by the IHC’s Harry Girvetz Memorial Endowment

Jody Enders: Translating Medieval Farce

In The Virus Touch, Ghosh argues that media are central to understanding emergent relations between viruses, humans, and nonhuman life. Writing in the shadow of the HIV/AIDS and COVID-19 global pandemics, Ghosh theorizes “epidemic media” to show how epidemics are mediated in images, numbers, and movements through the processes of reading test results and tracking infection and mortality rates. Scientific, artistic, and activist epidemic media that make multispecies relations sensible and manageable eschew anthropocentric survival strategies and instead recast global public health crises as biological, social, and ecological catastrophes, pushing us toward a multispecies politics of health. Ghosh trains her analytic gaze on these mediations as expressed in the collection and analysis of blood samples as a form of viral media; the geospatialization of data that track viral hosts like wild primates; and the use of multisensory images to trace fluctuations in viral mutations. Studying how epidemic media inscribe, store, and transmit multispecies relations attunes us to the anthropogenic drivers of pathogenicity like deforestation or illegal wildlife trading and the vulnerabilities of diseases that arise from socioeconomic inequities and biopolitical neglect.

Bishnupriya Ghosh is Professor of English and Global Studies at UC Santa Barbara, author of Global Icons: Apertures to the Popular, and coeditor of The Routledge Companion to Media and Risk.

https://www.ihc.ucsb.edu/events/humanities-decanted/

Sponsored by the IHC’s Harry Girvetz Memorial Endowment

Bishnupriya Ghosh: The Virus Touch: Theorizing Epidemic Media

A dialogue between Giuliana Perrone (History) and Jeannine DeLombard (English) about Perrone’s new book, Nothing More than Freedom: The Failure of Abolition in American Law (Cambridge University Press, 2023). 

Nothing More than Freedom explores the long and complex legal history of Black freedom in the United States. From the ratification of the Thirteenth Amendment in 1865 until the end of Reconstruction in 1877, supreme courts in former slave states decided approximately 700 lawsuits associated with the struggle for Black freedom and equal citizenship. This litigation – the majority through private law – triggered questions about American liberty and reassessed the nation’s legal and political order following the Civil War. Judicial decisions set the terms of debates about racial identity, civil rights, and national belonging, and established that slavery, as a legal institution and social practice, remained actionable in American law well after its ostensible demise. The verdicts determined how unresolved facets of slavery would undercut ongoing efforts for abolition and the realization of equality. Insightful and compelling, this work makes an important intervention in the history of post-Civil War law.

Giuliana Perrone is Assistant Professor of History at the University of California, Santa Barbara. Her research focuses on the history of slavery, abolition, and race in North America, American socio-legal history, the history of the Civil War and Reconstruction, and the development of American political institutions.

https://ihc.ucsb.edu/events/humanities-decanted/

Sponsored by the IHC’s Harry Girvetz Memorial Endowment

Giuliana Perrone: Nothing More than Freedom: The Failure of Abolition in American Law

A dialogue between Yunte Huang (English) and Constance Penley (Film and Media Studies) about Huang’s new book, Daughter of the Dragon: Anna May Wong’s Rendezvous with American History. Refreshments will be served.

Daughter of the Dragon is a trenchant reclamation of the Chinese American movie star, whose battles against cinematic exploitation and endemic racism are set against the currents of twentieth-century history. Born into the steam and starch of a Chinese laundry, Anna May Wong (1905–1961) emerged from turn-of-the-century Los Angeles to become Old Hollywood’s most famous Chinese American actress, a screen siren who captivated global audiences and signed her publicity photos—with a touch of defiance—“Orientally yours.” Now, more than a century after her birth, Yunte Huang narrates Wong’s tragic life story, retracing her journey from Chinatown to silent-era Hollywood, and from Weimar Berlin to decadent, prewar Shanghai, and capturing American television in its infancy. As Huang shows, Wong’s rendezvous with history features a remarkable parade of characters, including a smitten Walter Benjamin and (an equally smitten) Marlene Dietrich. Challenging the parodically racist perceptions of Wong as a “Dragon Lady,” “Madame Butterfly,” or “China Doll,” Huang’s biography becomes a truly resonant work of history that reflects the raging anti-Chinese xenophobia, unabashed sexism, and ageism toward women that defined both Hollywood and America in Wong’s all-too-brief fifty-six years on earth.

Yunte Huang is Distinguished Professor of English at UC Santa Barbara and is the author of Chinese Whispers: Toward a Transpacific Poetics (2022), Transpacific Imaginations: History, Literature, Counterpoetics (2008), CRIBS (2005), Transpacific Displacement: Ethnography, Translation, and Intertextual Travel in Twentieth-Century American Literature (2002), and Shi: A Radical Reading of Chinese Poetry (1997), and the translator into Chinese of Ezra Pound’s The Pisan Cantos. His book, Charlie Chan: The Untold Story of the Honorable Detective and His Rendezvous with American History (Norton, 2010), won the Edgar Award and was the finalist for the National Book Critics Circle Award, as well as being named a New York Times Notable Book and one of the Best Books of the Year by the San Francisco Chronicle, Village Voice, Amazon, and Kirkus Reviews. A Guggenheim Fellow in 2014-15, he has also published articles in the New York Times, Chicago Tribune, Daily Beast, and others. His most recent book is Inseparable: The Original Siamese Twins and Their Rendezvous with American History (2018).

https://ihc.ucsb.edu/events/humanities-decanted/

Sponsored by the IHC’s Harry Girvetz Memorial Endowment

Yunte Huang: Daughter of the Dragon

Join us for a dialogue between Vladimir Hamed-Troyansky (Global Studies) and Dwight Reynolds (Religious Studies) about Hamed-Troyansky’s new book, Empire of Refugees: North Caucasian Muslims and the Late Ottoman State. Empire of Refugees reframes late Ottoman history through mass displacement and reveals the origins of refugee resettlement in the modern Middle East. Hamed-Troyansky offers a historiographical corrective: the nineteenth-century Ottoman Empire created a refugee regime, predating refugee systems set up by the League of Nations and the United Nations. Grounded in archival research in over twenty public and private archives across ten countries, this book contests the boundaries typically assumed between forced and voluntary migration, and refugees and immigrants, rewriting the history of Muslim migration in the nineteenth and early twentieth centuries.

Vladimir Hamed-Troyansky is a historian of global migration and forced displacement and Assistant Professor of Global Studies at UC Santa Barbara. His research examines Muslim refugee migration and its role in shaping the modern world. His articles appeared in Past & Present, Comparative Studies in Society and History, International Journal of Middle East Studies, Slavic Review, and Kritika.

https://www.ihc.ucsb.edu/event/humanities-decanted-vladimir-hamed-troyansky/

Cosponsored by the IHC’s Harry Girvetz Memorial Endowment

Vladimir Hamed-Troyansky | Empire of Refugees: North Caucasian Muslims and the Late Ottoman State

The IHC’s mission is to advance knowledge about human experience in cultural, historical, and social contexts and to do so through programs that foster human agency, social connectivity, and civic empowerment.

IHC events include lectures, seminars and conferences organized by IHC research focus groups and sub-units as well as events co-sponsored with campus departments. In addition, the IHC mounts year-long public programs on themes suggested by UCSB faculty and graduate students.

Vladimir Hamed-Troyansky | Empire of Refugees: North Caucasian Muslims and the Late Ottoman State

IHC UCSB