Doug Eacho

@dougeacho.bsky.social

asst prof of theatre and performance studies at the national university of singapore. 🇺🇸/🇨🇦. writing a book about automating theatre (surrealism, cybernetics, backstage tech, ai) in which i discover to much astonishment that it was capital all along.

current draft of readings for the "Drama in the 20th Century" undergraduate course I'll teach this winter. my attempt at narrating a global (with many caviats) canon. some essays and interviews will be added. i am also not 100% committed to which brecht to teach.

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checked out the letterboxd of my favorite film today (Hou's THREE TIMES, 2004) and the most liked review quotes Barthes and Badiou and ends with "love is a dialectics" i guess all the romantic theoryheads are suckers for this one together

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with my melbourne trip behind me i am pleased to announce my updated World Coffee City rankings. many places yet to see etc etc but : 1. Tokyo 2. Melbourne 3. Seattle 4. New York City 5. Vienna ... 96. Montréal 97. Rome 98. Cologne 99. Atlanta 100. Paris

i think it is out of fashion so it may be worth stressing that reading "absalom, absalom!" is one of the most profound artistic experiences you can have, especially if you happen to be an overeducated american with 19C ancestry (IYKYK). its horrifying, doomed despair... well yes that's just it.

Doug Eacho@dougeacho.bsky.social · last mo.

three novels, 1. Absalom, Absalom! 2. Beloved 3. Mason & Dixon and three plays. 1. The America Play 2. The Iceman Cometh 3. Hip Hop Waltz of Euridice.

three novels, 1. Absalom, Absalom! 2. Beloved 3. Mason & Dixon and three plays. 1. The America Play 2. The Iceman Cometh 3. Hip Hop Waltz of Euridice.

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showing my receipts -- there is one "Modern and Contemporary Drama" anthology in print, from Routledge (2016), ed. Maggie Gale and John Deeney. It's provocative in some ways I sympathize with, but it is 95% European without being labelled as such. (and the USA choices are, um, eccentric.)

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Doug Eacho@dougeacho.bsky.social · last mo.

facing yet another year of teaching a modern drama class without there being a single anthology of global modern drama in print. publishers are captive to the tastes of US or UK undergrads and sign up scholars willing to distort our collective heritage to pander to two national narratives.

facing yet another year of teaching a modern drama class without there being a single anthology of global modern drama in print. publishers are captive to the tastes of US or UK undergrads and sign up scholars willing to distort our collective heritage to pander to two national narratives.

captivating, fetishistic, clever. again and again surprising but at end the oldest and most familiar story there could be. postmodernism isn't dead yet. "Oh dear oh dear oh dear!"

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family update: 3yo has learned that grown-ups can not just *read* stories, but make them up. and change them via his demands. 3yo has further learned that mommy is much better at this than daddy. years of dad and mom sharing-by/alternating bedtime labor... now worthless

finally writing up my take on Appia's 1913 Orfeo (pictured: the Act II underworld, perhaps the single most influential work of set design ever produced?). if anyone wants to share references to critical interpretations of the orpheus myth - right now i'm working w/ Blanchot's - please do share

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at the national gallery of singapore today, and as usual in this country, having my mind blown. astonishing heights of postcolonial modernism. posting for now, will add alt text captions later.

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thoughtful thread, and I like the "rather than insist on our value, we should ask valuable questions" framing. but for decades humanists have explored valuable questions (like those mentioned) and have found institutions increasingly hostile to our answers.

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Robert Wilson’s career really became an indictment of the avant garde in the 21st century. Making coffee table book shows with the same four recycled gestures, sucking up bajillions in German taxpayer dollars, feeding wealthy Brooklyn audiences the same shit sandwich over and over.

the costs of this disaster will primarily be born by poor asians and somewhat by all europeans and less so by poor americans, and trump simply does not care about any of those groups. ideas that he will be put to reason by midterm concerns or by Xi are fantasies. reason will not come to save us.

David Burbach 🇺🇸@dburbach.bsky.social · 3mo ago

1. Certainly possible Iran will have to back down first, but seems unlikely be quick and oil prices will stay high 2. Will be curious to learn insider positions (and Israel) on blockade-and-wait vs resume bombing www.wsj.com/world/middle...

teaching a class on popular performance at NUS means students sharing shit with me past what my weak millennial american mind can comprehend. behold Wang Sulong's "ROMANCE CITY" concert at Bird's Nest (capacity 100K), complete with floats, mascots, transparent LED displays, ceiling projection... 😶

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roger caillois is my fave right-wing thinker of the 20th century bc in opposing cultural pluralism he insisted that the best cultures were the Incas and the Tang Dynasty and that humanity would never get that good again. i cannot agree with this position but i must respect it

Olúfẹ́mi O. Táíwò@olufemiotaiwo.bsky.social · 4mo ago

personally I agree that we should indeed reject the hollow pluralism of pretending that we shouldn't judge Klan, Nazi, and sparkling eugenicist subcultures according to what they have historically produced, and would enthusiastically endorse rejecting inclusion of them in public life

the nyt refusing to call the One Piece flag a One Piece flag seems symptomatic of a whole set of crises: of journalistic style, of generational divisions, and especially of an american liberal order that cannot speak (let alone understand) what the world has become

An article on the new Nepali government recalls the use of the One Piece flag by 2025 protesters but calls it "the pirate flag that is a worldwide symbol of Gen Z resistance"