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The photographic collection of Adelaide Ristori Archive kept at the Museo Biblioteca dell’Attore in Genoa consists of hundreds of prints, some of which are collected in albums or series. Divided according to different criteria and mixing private and theatrical photographs, the albums collect pictures taken by photographic studios scattered all over the world. The passage of the actress, with her characters, costumes, and fragments of her repertoire, traces an international history of photography and visual culture. Her face participates in a macroscopic gallery of portraits appearing in turn in other series and albums organized according to the photographers’ strategies. This is the case of Londoner Herbert Watkins, author of a collection of well-known faces where also the Italian actress appears. By including her in his album of portraits, Watkins introduces Ristori to the scene of Victorian photography, where the faces of the subjects are overlaid with the features of the social and theatrical roles they played. The comparison of these repertoires based on the opposite criteria (one subject many photographers/one photographer many subjects) reveals the layers on which the actress’s memory is deposited. The same photographs observed in different contexts show the enduring and multifaceted effectiveness of her expressive gesture.

This article aims to establish the publishing history of shunpon (erotic books) with actors' \"true likenesses\" (nigao-e) that were issued in Edo, and explore the ways in which the development of actor likeness and the production of shunpon were interrelated. It was in the late eighteenth and early nineteenth centuries that the use of actors' \"likenesses\" became the norm. Originally, artists had represented actors' faces in a stereotyped or generic way. However, from around the 1760s representations became more distinctive and individualized, taking advantage of the actors' \"star\" quality. In this essay, I survey, in chronological order, thirty shunpon issued between 1773 and 1850 that employ actors' nigao. The survey will reveal some crucial points in the development of the relationship between actor likenesses and erotic books. For example, Kunisada produced several shunpon in 1826-28 that combine accounts of scandals involving Kabuki actors with the plots of current plays. One question is: Why did Kunisada suddenly become so active in this field immediately after the death of Toyokuni I in 1825? The practice of nigao made the depiction of identifiable actors off stage possible. A small number of books, not all of them shunpon, published between 1770 and 1804, showed actors in private life. The exploitation of nigao led to a significant enrichment of Edo visual culture. The article hopes to reach a better of understanding of the public's intense interest in kabuki actors, and the ways in which artists developed and exploited nigao to satisfy that demand.

Steiner profiles Kabuki actor Nakamura Utaemon V, highlighting a portrait of the actor by Alexandre Iacovleff. Utaemon V was a specialist in female roles, an onnagata ad was an eminent representative of a glorious family of thespians and, as his 1940 obituary in The New York Times put it, \"the dean of Kabuki actors at the Kabuki-za in Tokyo.\" His greatness was attested to by the bestowal of the prestigious stage name Utaemon of the Nakamura line, after a hiatus of sixty years following the death of Utaemon IV (1798-1852). He was 46 at the time, and to celebrate his name change (shumei bird kogyo), Utaemon V played the role of a young maiden, Hanako, in the well-known Kabuki dance Musume Dojo-ji.

Drawing on knowledges of spatial practitioners in Slovakia and Czechia, as well as those of feminist science and technology studies and actor-network theory, the article explores the benefits and importance of bringing diverse knowledges into spatial practice. More specifically, it focuses on the issue of including voices, perspectives, and knowledges in the construction of space other than those of status quo often implicated in the (re)production of social injustices. It proposes to look at the margins as a site of potential resistance to find spatial practices/know-hows and visions that actually contribute to the creation of spaces for good lives of marginalised communities. Leaning on the experiences of practitioners on the margins, the article presents portraits of two organisations to explore in detail what spatial practices they employ to materialise their marginalised visions. Building on an analysis of these case studies, the article closes with a description of three transformations of spatial practice that are needed for better involvement of marginalised visions in spatial production: addressing a more complete image of the world, conceiving of space as multiple becoming, and participation as a matter of care.

A partir de una investigación con enfoque sociolingüístico sobre las representaciones y prácticas lingüísticas de la juventud garífuna hondureña en correlación con sus viajes migratorios, nos cuestionaremos sobre la definición de una metodología participativa que movilice saberes experienciales, teóricos y creativos de los actores (Bedessem, 2020; Cham- oreau, 2015). La correalización y el análisis reflexivo de los retratos lingüísticos, de las cartografías sensibles y la producción de cortometrajes autobiográficos, en específico de tres jóvenes garífunas hondureños de la comunidad de Triunfo de la Cruz, nos lleva a elaborar una epistemología de investigación basada en la co-creación de conocimientos entre la investigadora y los locutores (Leyva Solano, 2018).

This article focuses on the privately created commemorative practice of getting the official portraits of three former socialist leaders as a tattoo: Nicolae Ceauşescu, Josip Broz Tito, and Josif Vissarionovich Dzhugashvili (Stalin). The mnemonic actors who have indulged in this practice after the 1990s contribute to a culture informed by vernacular memorials that conform to neither the official politics of remembrance and its aesthetics nor its content. Correspondingly, this article focuses on the aesthetic, political, and epistemic intricacies of remembering through the inked body. Unlike memorial tattoos that mark the recognition of a group that has suffered the same trauma, the commemorative tattoos analyzed in this article reflect a centrifugal set of identity concerns, ranging from Yugonostalgia to individualized spaces of self-healing and identity affirmation. The argument put forth is that tattoos can act as vernacular commemorations collected into a body archive of nostalgia for the ontological security of the past and “great leadership.” Thus, the overarching question is not how and why people materialize memories through their bodies but rather to what ends the inked body accommodates commemorative representations of former political leaders who are usually depicted in public memory as “unworthy” of commemoration.

Many studies of the adolescent period have focused on peer interactions and relationships, but less is known about the character of adolescents' early dating experiences. Researchers have recently explored girls' views of romance and sexuality, but studies of boys' perspectives are noticeably lacking. Theorizing in this area leads to the expectation that as adolescents cross over into heterosexual territory, boys will do so, on average, with greater confidence, while being relatively less engaged emotionally (i.e., the notion that boys want sex, girls want romance), and ultimately emerging as the more powerful actors within the relationship. This article develops a symbolic interactionist perspective to examine the experiences of adolescent boys and girls in the context of the romantic dyad. It focuses on the nature of communication, emotion, and influence within adolescent dating relationships. Findings based on structured interviews with over 1,300 adolescents provide a strong contrast to existing portraits: among those adolescents who had begun dating (n = 957), boys report significantly lower levels of confidence navigating various aspects of their romantic relationships, similar levels of emotional engagement as girls, and greater power and influence on the part of their romantic partners. In-depth relationship-history narratives, elicited from a subset (n = 100) of these respondents, provide additional support for the quantitative findings and are useful in the process of reconciling our perspective and results with the emphases of prior research.

No discussion of antitheatrical polemics can escape mention of Stephen Gosson. His characterization of theatre as the “doctrine of the devil” is found in his last of a succession of pamphlets attacking the theatre. His polemics comprise one of the most theologically nuanced arguments against the Elizabethan stage—euphuistic though they may be. Indeed, others were far more concise. The preacher William Holbrooke, for instance, made his case with efficiency when he branded stage players “scumme of the world.”

Lisa Jane Persky embodies the interconnected ethos of New York City's downtown arts scenes in the 1960s and 1970s, when underground theater, film, dance, music, art, and literature crosspollinated with each other. In the years after her folkie parents moved to Greenwich Village in 1962, Persky met several colorful characters, from Debbie Harry and Divine to Lance Loud and Yoko Ono (the latter of whom was her building's co-superintendent, along with her then husband Tony Cox, when Persky was a girl). Here, McLeod discusses Persky's Photographs of Debbie Harry.

In relation to the history of the actress as image, David Mayer asks: '[I] f the actress isn't seen upon the stage, how else - and where else - is she seen, identified, celebrated, memorialised, turned into an icon?' One way in which images of the actress make a striking, if little analysed, contribution to Australian public life is through the Archibald Prize, an annual award for portraiture managed by the trustees of the Art Gallery of New South Wales (AGNSW). 'Australia's favourite art award', the Archibald receives saturation coverage in mainstream media, bringing acclaim and publicity not only to the winning artist but also to his or her subject. In the history of the Archibald, nine of the winning portraits have been of male actors, the earliest being John Longstaff's 1925 portrait of Russian actor Maurice Moscovitch, and the most recent Louise Hearman's 2016 picture of Barry Humphries. No actress has ever been the subject of the winning portrait. While portraits of actresses feature prominently among the finalists, the failure of such an image to win the main prize means that the actress remains effectively unrepresented in the history of the Archibald - a history that is narrated through the winners. As such, the actress 'vanishes' from a significant stretch of our cultural landscape.