Terror, Spatiality, and the Future in Maria Irene Fornes’s Terra Incognita

IF 0.1 3区 艺术学 0 THEATER LATIN AMERICAN THEATRE REVIEW Pub Date : 2021-06-09 DOI:10.1353/LTR.2021.0002
Yeliz Biber Vangölü
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引用次数: 1

Abstract

Abstract:This essay explores the relationship between terror and spatiality in Maria Irene Fornes’s Terra Incognita (1991), a play rooted firmly, as its title suggests, in the production of spatiality. Fornes turns conventional spatial conceptions upside down by synchronising history with the present. Spatiality corresponds to both the social and political practices of terror and the alternative spaces opened up in the play to resist such terror, providing the grounds, both literally and metaphorically, from which to examine the inscribed modes of terror in the play. The essay’s main line of argument is informed by the concept of heterotopia proposed by Michel Foucault in Of Other Spaces (1967). Heterotopias are real spaces (as opposed to imaginary spaces) that exist in stark contradiction to other real spaces, thereby problematising their existence. By constructing such a heterotopic space where the specificity of space and time, territorial borders, and religious, racial, ethnical, and national sovereignty lose their prescriptive significance, Terra Incognita opens to debate the human maladies that risk the future.
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恐怖、空间性与未来——玛丽亚·伊雷娜·福内斯的《未知之地》
摘要:本文探讨Maria Irene Fornes的《未知之地》(Terra Incognita, 1991)中恐怖与空间性之间的关系。正如剧名所示,这部戏剧深深植根于空间性的创作。Fornes通过将历史与现在同步,颠覆了传统的空间概念。空间性既与恐怖的社会和政治实践相对应,也与戏剧中为抵抗这种恐怖而开辟的替代空间相对应,从字面上和隐喻上都提供了依据,从中可以检查戏剧中已记录的恐怖模式。本文的主要论点是由米歇尔·福柯在《论其他空间》(1967)中提出的异托邦概念。异托邦是真实的空间(相对于想象的空间),它与其他真实空间存在着鲜明的矛盾,从而使它们的存在成为问题。通过构建这样一个异位空间,空间和时间的特殊性、领土边界、宗教、种族、民族和国家主权失去了它们的规范性意义,“未知之地”开启了对人类疾病的辩论,这些疾病威胁着未来。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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