Horses and Cowboys on the Contemporary American Stage: The Horse as Prop in Sam Shepard’s Kicking a Dead Horse and Sarah Ruhl’s Late: a cowboy song

IF 0.3 3区 艺术学 0 THEATER Studies in Theatre and Performance Pub Date : 2021-03-26 DOI:10.1080/14682761.2021.1902139
Ana Fernández-Caparrós
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Abstract

ABSTRACT This comparative essay analyses the dramatic representation of horses in two early twenty-first-century American plays by Sam Shepard and Sarah Ruhl. Both plays bring a horse figure onto the stage as a prop and couple it to human characters fashioned by the iconography of the American cowboy. While both plays rely heavily on the symbolic power of horses and trope the animal, thus failing to achieve a portrayal of animality initially capable of challenging traditional humanist forms of representation, a close analysis of the materiality of equine presence on the stage shows the overlooked yet essential dramatic function horses have in these plays; that, far from being static symbols, they intervene decisively in the construction and cultural perception of space, gender and values of evolving American cowboy cultures; that their presence contributes to an appreciation of the potential of the horse-human partnership; and that, bringing to the stage their historical heritage as inhabitants of the American frontier, their presence contributes to the reconceptualization of borders making boundaries between humans and animals more permeable.
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当代美国舞台上的马和牛仔:在山姆·谢泼德的《踢死马》和莎拉·鲁尔的《迟到:一首牛仔歌》中,马作为道具
本文比较分析了山姆·谢泼德和莎拉·鲁尔在21世纪早期两部美国戏剧中对马的戏剧表现。这两部戏剧都把马的形象作为道具带到舞台上,并将其与美国牛仔形象塑造的人类角色结合在一起。虽然这两部戏剧都严重依赖于马的象征力量和对动物的比喻,因此未能实现最初能够挑战传统人文主义表现形式的动物形象,但对舞台上马的存在的物质性的仔细分析表明,马在这些戏剧中具有被忽视但必不可少的戏剧功能;它们绝不是静态的符号,而是决定性地介入了美国牛仔文化对空间、性别和价值观的建构和文化感知;它们的存在有助于人们认识到人马伙伴关系的潜力;而且,他们作为美国边境居民的历史遗产被搬上舞台,他们的存在有助于重新定义边界,使人与动物之间的边界更具渗透性。
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CiteScore
0.60
自引率
33.30%
发文量
11
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