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PAJ at Thirty

PAJ at Thirty EDITORIAL PAJ at Thirty T his publication of the eighty-second issue of PAJ marks the beginning of the journal’s thirtieth year. To say that we are facing a vastly different world in the new millennium than the one we confronted in 1976, the year of our first issue, would be so great an understatement as to seem naïve. Not only the theatre but the world itself seemed so much more intact then. Yet, as I look back over the first issue, with its acknowledgment of new performance vocabularies, experimental writing, and the avant-garde heritage in several essays and artists’ dialogues, there is a familiar trajectory that we have continued into the twenty-first century. Nevertheless, the world of theatre we took as our purview, shaped then by a shared notion of critical thinking, recognizable audiences and spaces, and an assured “downtown” scene has now become much more diffused, and, indeed, the idea of art and artistic process, has been transformed. A few decades ago what dominated a “theatre journal”—and this goes for theatre studies as well—were the plays and performances that individuals or groups presented to audiences. When PAJ began publication in 1976, performance art was a new form http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png PAJ: A Journal of Performance and Art MIT Press

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Publisher
MIT Press
Copyright
© 2005 Performing Arts Journal, Inc.
Subject
Editorial
ISSN
1520-281X
eISSN
1537-9477
DOI
10.1162/152028106775329589
Publisher site
See Article on Publisher Site

Abstract

EDITORIAL PAJ at Thirty T his publication of the eighty-second issue of PAJ marks the beginning of the journal’s thirtieth year. To say that we are facing a vastly different world in the new millennium than the one we confronted in 1976, the year of our first issue, would be so great an understatement as to seem naïve. Not only the theatre but the world itself seemed so much more intact then. Yet, as I look back over the first issue, with its acknowledgment of new performance vocabularies, experimental writing, and the avant-garde heritage in several essays and artists’ dialogues, there is a familiar trajectory that we have continued into the twenty-first century. Nevertheless, the world of theatre we took as our purview, shaped then by a shared notion of critical thinking, recognizable audiences and spaces, and an assured “downtown” scene has now become much more diffused, and, indeed, the idea of art and artistic process, has been transformed. A few decades ago what dominated a “theatre journal”—and this goes for theatre studies as well—were the plays and performances that individuals or groups presented to audiences. When PAJ began publication in 1976, performance art was a new form

Journal

PAJ: A Journal of Performance and ArtMIT Press

Published: Jan 1, 2006

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