TAMARA
JOURNAL
Tamara Journal for Critical Organization Inquiry is our new name (formerly Journal of Critical Postmodern Organization Science).
WHAT IS TAMARA THE PLAY?
In TAMARA, Los Angeles' longest-running play, a dozen characters unfold their stories before a walking, sometimes running audience. Tamara enacts a true story taken from the diary of Aelis Mazoyer. It is Italy, January 10, 1927, in the era of Mussolini. Gabriele d'Annunzio, a poet, patriot, womanizer, and revolutionary who is exceedingly popular with the people, is under virtual house arrest. Tamara, an expatriate Polish beauty, aristocrat, and aspiring artist, is summoned from Paris to paint d'Annunzio's portrait. Instead of remaining stationary, viewing a single stage, the audience fragments into small groups that chase characters from one room to the next, from one floor to the next, even going into bedrooms, kitchens, and other chambers to chase and co-create the stories that interest them the most. If there are a dozen stages and a dozen storytellers, the number of story lines an audience could trace as it chases the wandering discourses of Tamara is 12 factorial (12! = 479,001,600). I applied this critical postmodern perspective by looking at Disney corporate narratives, contrasting official (hegemonic) and more (corporately) marginalized stories [Boje 1995 Academy of Management Journal].
Tamara de Lempicka
Portrait of Madame M., 1930
|
Spring 1928 |
Self-Portrait in the Green Bugatti, 1925 |
Surrealist Landscape |
ABOUT TAMARA. Tamara de Lempicka (1898-1980) was a Polish portrait painter who lived in Russia until the Bolsheviks arrested her husband during the Russian revolution. In 1918 she emigrated to Paris, and in the 1920s and 1930s became the darling of the European aristocracy (de Lempicka Portrait Galleries on WWW: 1st, 2nd, 3rd, 4th, 5th, 6th, 7th, 8th, 9th, 10th, 11th, 12th; Bios 1st, 2nd; 3rd, 4th, 5th; De Lempicka portraits 1st, 2nd, 3rd,)). She is recognized as the most important Art Deco painter.
TAMARA, is also a play by John Krizanc (1981/1989), first performed May 8, 1981 in Toronto. It is Los Angeles' longest-running play, a dozen characters unfold their stories before a walking, sometimes running, audience. Tamara enacts a true story taken from the diary of Aelis Mazoyer. It is Italy, January 10, 1927, in the era of Mussolini. Gabriele d'Annunzio, a poet, patriot, womanizer, and revolutionary who is exceedingly popular with the people, is under virtual house arrest. Tamara, an expatriate Polish beauty, aristocrat, and aspiring artist, is summoned from Paris to paint d'Annunzio's portrait. Instead of remaining stationary, viewing a single stage, the audience fragments into small groups that chase characters from one room to the next, from one floor to the next, even going into bedrooms, kitchens, and other chambers to chase and co-create the stories that interest them the most. If there are a dozen stages and a dozen storytellers, the number of story lines an audience could trace as it chases the wandering discourses of Tamara is 12 factorial (479,001,600). I applied this critical postmodern perspective by looking at Disney corporate narratives, contrasting official (hegemonic) and more (corporately) marginalized stories [Boje, 1995 Academy of Management Journal]. What is Postmodern Organization Science? An Overview
TAMARA JOURNAL encourages
interdisciplinary dialogue on theory, method, and social action.
NOTE: We have been
updating the links between ISSUES and EBSCO and PROQUEST, for your on line
copies. Please Subscribe
for your print copies of the journal - D. Boje Jan 26, 2008
Contact: 
ISSN: 1532-5555
| David Boje |
Editor |
Heather Hopfl |
Co-Editor |
