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To Be Like Water: Material Dramaturgies in Posthumanist Performance 像水一样:后人类主义表演中的物质戏剧
IF 0.5 0 THEATER Pub Date : 2022-05-01 DOI: 10.1515/jcde-2022-0008
R. Mosse, Anna Street
Abstract This article explores how water performs on the contemporary stage. Drawing on theorists such as Rosi Braidotti, Karen Barad, and Joanna Zylinska, we investigate water in its various dramaturgical functions as matter, medium, and metaphor to sketch performance alternatives that highlight nonhuman forms of agency. Focusing on the work of sound artist and geographer AM Kanngieser and their use of water to listen to the Anthropocene as well as on the Filter Theatre production of David Farr’s play Water (2007/2013), we want to highlight how diffraction and resonance alternately provide ways of rethinking traditional configurations of making meaning. The sonic dimension of water, in particular, turns into a productive site for manifesting the heightened relationality of the Anthropocene world. The article thus argues that the material dramaturgies of water show how the crucial interactions between science, philosophy, and performance manage to sketch new posthuman knowledge formations.
摘要本文探讨了水在当代舞台上的表现。借鉴Rosi Braidotti、Karen Barad和Joanna Zylinska等理论家的经验,我们研究了水作为物质、媒介和隐喻的各种戏剧功能,以描绘突出非人类代理形式的表演替代方案。专注于声音艺术家和地理学家AM Kanngieser的作品,以及他们使用水来聆听人类世,以及David Farr戏剧《水》(2007/2013)的Filter Theatre制作,我们想强调衍射和共振如何交替提供重新思考传统意义配置的方式。特别是水的声波维度,变成了一个富有生产力的场所,以显示人类世世界的高度相关性。因此,文章认为,水的物质戏剧展示了科学、哲学和表演之间的关键互动是如何描绘出新的后人类知识形态的。
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引用次数: 0
Kinship and Community in Climate-Change Theatre: Ecodramaturgy in Practice 气候变化戏剧中的亲缘关系与社区:生态戏剧的实践
IF 0.5 0 THEATER Pub Date : 2022-05-01 DOI: 10.1515/jcde-2022-0011
T. May
Abstract Ecodramaturgy, a critical framework that interrogates the implicit ecological values in any play or production, is explained here and then used to demonstrate the central tenets of climate theatre, including theatre’s potential for decolonisation, interspecies understanding, and community engagement. Burning Vision (2002) by Marie Clements employs a ceremonial performance form to unearth the hidden history of uranium mining on Dene lands as it argues for environmental justice and the authority of Indigenous oral traditions. Sila (2014) by Chantal Bilodeau foregrounds the interdependence of culture and community across species. Finally, Salmon Is Everything (2006) by Theresa J. May amplifies the voices of Indigenous communities most affected by ecological loss. Taken together, these plays and their productions underscore the potential for theatre-making to function as a democratising force in the Anthropocene.
生态戏剧学是一个重要的框架,它质疑任何戏剧或生产中隐含的生态价值,在这里进行解释,然后用于展示气候戏剧的核心原则,包括戏剧在非殖民化、物种间理解和社区参与方面的潜力。玛丽·克莱门茨(Marie Clements)的《燃烧的视野》(Burning Vision, 2002)以一种仪式表演的形式,揭示了Dene土地上铀矿开采的隐藏历史,为环境正义和土著口头传统的权威辩护。Chantal Bilodeau的《Sila》(2014)强调了物种间文化和群落的相互依存关系。最后,特蕾莎·j·梅的《鲑鱼就是一切》(2006)放大了受生态损失影响最大的土著社区的声音。总而言之,这些戏剧及其作品强调了戏剧创作作为人类世民主化力量的潜力。
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引用次数: 0
Writing in the Green: Imperatives towards an Eco-n-temporary Theatre Canon 在绿色中写作:对生态临时戏剧规范的要求
IF 0.5 0 THEATER Pub Date : 2022-05-01 DOI: 10.1515/jcde-2022-0003
Vicky Angelaki
Abstract This article reflects on the sociopolitical, cultural, and health landscape(s) of our current moment in time, addressing how intersecting crises have delivered us to an unprecedented moment for drama, theatre, and performance. As communities across the world have had to dispense with staples of everyday life – attending live theatre performances being one of these –, so art, in all its forms, has never been more significant in its capacity to bring us together, even if modes of togetherness have shifted in their referentiality and locationality. As the article proposes, we need to take an intuitive approach to the appreciation of how our ecologies – in their broadest iteration – have been impacted and realigned by the COVID-19 pandemic in such ways that we can expect that our future scholarship(s) on plays, place, and landscape will and, indeed, ought to reflect this experience. Dialogues on theatre and environment, which are already intersectional, are now receiving yet another focusing lens through the pandemic.The article also suggests that our understandings of how our ecologies have been adapted invite a consideration of new modes of engaging with the environment in our discourses – and of the very term itself and what it might encompass – and new economies in calibrating our discourses to reflect our radically redistributed individual and collective experiences. The text offers examples of categories that emerge particularly strongly where spatial liminality is key; in so doing, it asserts that in-betweenness is a central element towards understanding our contemporary role and responsibilities: from collapsing binaries (environment/economy) to the unmoored experience of our times.
这篇文章反映了我们当前的社会政治、文化和健康状况,解决了交叉的危机如何将我们带到一个前所未有的戏剧、戏剧和表演的时刻。随着世界各地的社区不得不放弃日常生活的主要内容——参加现场戏剧表演就是其中之一——因此,艺术,以其所有形式,在将我们聚集在一起的能力方面从未像现在这样重要,即使团结的模式在参考性和地域性上发生了变化。正如这篇文章所提出的,我们需要采取一种直观的方法来欣赏我们的生态——在最广泛的迭代中——是如何受到COVID-19大流行的影响和重新调整的,这样我们就可以期望我们未来关于戏剧、地点和景观的学术研究将而且确实应该反映这一经验。关于战区和环境的对话已经是交叉的,现在又通过大流行病获得了另一个焦点。这篇文章还建议,我们对生态如何被适应的理解,需要考虑在我们的话语中与环境互动的新模式——以及这个术语本身及其可能包含的内容——以及调整我们的话语以反映我们从根本上重新分配的个人和集体经验的新经济。本文提供了一些类别的例子,其中空间限制是关键;在这样做的过程中,它断言,中间是理解我们当代角色和责任的核心要素:从崩溃的二元(环境/经济)到我们时代的无系泊经验。
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引用次数: 0
Encounters in the Chthulucene: Simon McBurney’s Theatre of Compost Chthulcene的邂逅:西蒙·麦克伯尼的堆肥剧院
IF 0.5 0 THEATER Pub Date : 2022-05-01 DOI: 10.1515/jcde-2022-0007
S. Ayache
Abstract Looking at Simon McBurney’s award-winning solo performance The Encounter (2015), this paper examines the play’s contribution to environmental humanities through an ecocritical study of its combined use of state-of-the-art sound design and the age-old art of storytelling to address the link between the ecological and spiritual crises that we are facing. The Encounter relates the real story of the American photographer Loren McIntyre who lived with the Mayoruna tribe for six weeks in 1969 after getting lost in the Amazon rainforest. Relying heavily on sound design to take us deep into the jungle, the show addresses our relation to nature and technology and elicits our empathy to denounce the dictates of a globalised world ruled and threatened by neoliberal and neocolonial capitalistic ideologies. As the brain – and the stage – become the forest, The Encounter challenges the notions of distance and separation from the Other in favour of a deep sense of interconnectedness. Using Donna J. Haraway’s 2016 book Staying with the Trouble: Making Kin in the Chthulucene, this article sheds light on how The Encounter invites us to recognise the urgency of defining what it means to live together in “response-ability on a damaged earth” (Haraway 2) and how the intermedial, hybrid qualities of the play found not a “post-human” but, on the contrary, a “com-post” theatre piece (11).
摘要通过西蒙·麦克伯尼获奖的个人表演《邂逅》(2015),本文通过对该剧结合最先进的声音设计和古老的讲故事艺术的生态批判研究,探讨了该剧对环境人文的贡献,以解决我们面临的生态危机和精神危机之间的联系。《邂逅》讲述了美国摄影师洛伦·麦金太尔的真实故事,1969年,他在亚马逊雨林迷路后,与马约鲁纳部落一起生活了六周。该剧在很大程度上依靠声音设计将我们带入丛林,讲述了我们与自然和技术的关系,并激发了我们的同理心,谴责一个由新自由主义和新殖民主义资本主义意识形态统治和威胁的全球化世界的指令。当大脑和舞台变成森林时,《邂逅》挑战了与他人的距离和分离的概念,转而支持一种深刻的相互联系感。这篇文章引用了Donna J.Haraway 2016年出版的《与麻烦同在:在Chthulucene中建立关系》一书,揭示了《邂逅》如何邀请我们认识到在“受损的地球上的反应能力”中定义共同生活意味着什么的紧迫性(Haraway 2),以及该剧的中间混合品质如何发现不是“后人类”,“com post”戏剧作品(11)。
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引用次数: 0
An Ecology of Plants: The Post-Manufacturing Age in Philip Ridley’s Shivered and David Eldridge’s In Basildon 植物生态学:菲利普·雷德利的《颤栗》和大卫·埃尔德里奇的《在巴顿》中的后制造业时代
IF 0.5 0 THEATER Pub Date : 2022-05-01 DOI: 10.1515/jcde-2022-0014
Christian Attinger
Abstract The article argues that the so-called Capitalocene, proposed by Jason W. Moore, augments Anthropocenic reasoning by addressing the systemic and ideological shortcomings threatening the very basics of human existence that hitherto have so often been neglected or simply missed by “Green Arithmetic” and a naive belief in technology. The readings of Philip Ridley’s Shivered (2012) and David Eldridge’s In Basildon (2012) illustrate that the Capitalocene and its attempts at understanding the ecological and social consequences of global capitalism offer an exciting new lens for the analysis of contemporary political drama, especially with regard to the ecology of industrial plants in the post-manufacturing age.
本文认为,杰森·摩尔(Jason W. Moore)提出的所谓“资本世”(Capitalocene),通过解决威胁人类生存基本要素的系统和意识形态缺陷,增强了人类世的推理。迄今为止,这些缺陷经常被“绿色算术”(Green Arithmetic)和对技术的天真信仰所忽视或忽视。菲利普·雷德利(Philip Ridley)的《颤抖》(2012)和大卫·埃尔德里奇(David Eldridge)的《在巴斯尔登》(2012)表明,资本新世及其对理解全球资本主义的生态和社会后果的尝试,为分析当代政治戏剧提供了一个令人兴奋的新视角,尤其是在后制造业时代的工业工厂生态方面。
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引用次数: 0
Eco-Drama, Multinational Corporations, and Climate Change in Nigeria 尼日利亚的生态戏剧、跨国公司和气候变化
IF 0.5 0 THEATER Pub Date : 2022-05-01 DOI: 10.1515/jcde-2022-0012
R. C. Amaefula
Abstract Oil explorations by multinational corporations in Nigeria have grave consequences on the ecosystem. Gas flaring, oil spillage, and other forms of land and water pollution seriously degrade the natural environment as well as displace Nigerians from their homes and traditional occupations. Pollution has caused increased flooding, erosion, and dearth of both food and fishes, leading to poverty and hidden hunger, among other problems. More destructive is the reactionary disposition of the Nigerian state to climate change and ecological disasters. Beside the provision of make-shift structures and relief materials to flood victims, there are hardly any proactive efforts on the ground to check the activities of multinational corporations operating in the country. Greg Mbajiorgu’s eco-drama Wake Up Everyone (2011) depicts the challenges of the climate crisis in contemporary Nigeria. A close reading and critical analysis of the play, which is a microcosm of the country, illuminates the ways these challenges affect Nigerians and the need for action. Apart from displacing individuals from their homes, flooding takes a heavy toll on the agricultural sector, as most crops and livestock production systems in Nigeria are not yet fully technology-based and are, therefore, susceptible to environmental degradation. As a result, the flooding of farms and plantations, damaging crops and seedlings, leads to a corresponding degree of food scarcity/insecurity and indeed inflation in the cost of farm produce. This paper concludes that conscious efforts suggested in the play should be made to forestall multinational corporations from further pillaging the environment, and that government functionaries saddled with the task of forging active measures to stem the effects of climate change in the country should rise to their responsibilities.
跨国公司在尼日利亚的石油勘探对当地生态系统造成了严重的影响。天然气燃烧、石油泄漏以及其他形式的土地和水污染严重破坏了自然环境,并使尼日利亚人流离失所,离开家园和传统职业。污染导致洪水、水土流失加剧,粮食和鱼类短缺,导致贫困和隐性饥饿等问题。更具破坏性的是尼日利亚政府对气候变化和生态灾害的反动态度。除了向水灾受害者提供临时建筑和救济物资外,几乎没有任何积极的实地努力来检查在该国经营的跨国公司的活动。Greg Mbajiorgu的生态剧《Wake Up Everyone》(2011)描绘了当代尼日利亚气候危机的挑战。这部剧是尼日利亚的一个缩影,通过对它的仔细阅读和批判性分析,可以看出这些挑战是如何影响尼日利亚人的,以及采取行动的必要性。除了使个人流离失所之外,洪水还对农业部门造成了沉重打击,因为尼日利亚的大多数作物和牲畜生产系统尚未完全以技术为基础,因此容易受到环境退化的影响。因此,农场和种植园被洪水淹没,作物和幼苗遭到破坏,导致相应程度的粮食短缺/不安全,实际上导致农产品成本的通货膨胀。本文的结论是,剧中提出的有意识的努力应该阻止跨国公司进一步掠夺环境,而肩负着制定积极措施以遏制该国气候变化影响的任务的政府官员应该承担起他们的责任。
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引用次数: 0
Performing Resilience: Anchorage and Leverage in Live Action Role-Play Drama 表演弹性:锚定和杠杆在真人角色扮演戏剧
IF 0.5 0 THEATER Pub Date : 2022-05-01 DOI: 10.1515/jcde-2022-0006
Jamie Harper
Abstract The concept of resilience is frequently described within neoliberal discourses as the ability of individuals to bounce back from shocks and reflexively adapt to changing circumstances. In ecological sciences, however, resilience is more commonly understood as the capacity of systems to radically transform themselves, when their usual mode of operation is challenged, rather than simply reverting to their original state. This article considers how live action role-play, as a form of participatory performance, might support ecological resilience by enabling players to actively reflect on their cultural practices in constructing the systems of their play and develop new capacities in the process through intersubjective exchanges with diverse others.The notion of performing resilience is concretised through discussion of artistic research residencies at Trumpington Community Orchard in Cambridge in 2017 and the Peartree Bridge estate in Milton Keynes in 2018. These projects explored how encounters with unfamiliar spaces and beings might enable participants to play with their resilient changeability. Specifically, the article addresses the value of spatial reflexivity in building resilience, proposing spatial defamiliarization as an aesthetic strategy for transcending the immediate familiarity of habitual practices, expanding participants’ horizons of perception and imagination. These arguments yield a theoretical model for cultivating resilience through participatory performance termed anchorage-leverage. This model suggests that habit can provide the foundation for potential transformations of cultural practices as existing capacities are reconfigured by new relational connections, conferring new affordances that enable participants to radically reconfigure the ecologies in which they play and live.
在新自由主义话语中,弹性的概念经常被描述为个体从冲击中反弹并反射性地适应不断变化的环境的能力。然而,在生态科学中,弹性通常被理解为系统在其通常的运作模式受到挑战时从根本上改变自身的能力,而不是简单地恢复到原始状态。本文考虑了真人角色扮演,作为一种参与式表演形式,如何通过使玩家在构建游戏系统时积极反思他们的文化实践,并通过与不同他人的主体间交流,在这一过程中发展新的能力,从而支持生态弹性。通过2017年在剑桥特朗平顿社区果园和2018年在米尔顿凯恩斯的梨树桥庄园的艺术研究驻地的讨论,表演弹性的概念具体化了。这些项目探索了与不熟悉的空间和生物的接触如何使参与者能够发挥他们的弹性变化。具体来说,本文探讨了空间反身性在建立弹性中的价值,提出空间陌生性作为一种美学策略,可以超越对习惯实践的直接熟悉,扩大参与者的感知和想象视野。这些论点产生了一个通过参与式绩效培养弹性的理论模型,称为锚定杠杆。这个模型表明,习惯可以为文化实践的潜在转变提供基础,因为现有的能力被新的关系连接重新配置,赋予新的支持,使参与者能够从根本上重新配置他们在其中玩耍和生活的生态。
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引用次数: 0
Mark Brown. Modernism and Scottish Theatre since 1969: A Revolution on Stage. Cham: Palgrave Macmillan, 2019, xvii + 254 pp., € 80.24 (hardback), € 24.99 (softcover). 马克·布朗。1969年以来的现代主义和苏格兰戏剧:舞台上的革命。Cham:Palgrave Macmillan,2019,xvii+254页,80.24欧元(精装本),24.99欧元(软封面)。
IF 0.5 0 THEATER Pub Date : 2022-05-01 DOI: 10.1515/jcde-2022-0019
D. Pattie
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引用次数: 0
This Is England 2021: Staging England and Englishness in Contemporary Theatre 《这就是英格兰2021》:在当代戏剧中上演英格兰与英国
IF 0.5 0 THEATER Pub Date : 2021-10-23 DOI: 10.1515/jcde-2021-0024
G. Edwards
Abstract This article explores the ways in which contemporary theatre is engaging with English national questions. In the context of the current devolutionary movements in Britain, I apply a national specificity, focusing on plays and performances which address the politics of just one of the three nations within Britain: England. While this study of the specifics of England and Englishness is already well-established in literary studies (Gardiner) and political science (Kenny; Nairn), there is yet to be a sustained critical engagement with England in theatre studies. Following a discussion of Jez Butterworth’s Jerusalem (2009) in light of its planned West End revival in 2022, I then turn to two recent theatrical representations of England in Mike Bartlett’s Albion (2017 and 2020) and the Young Vic’s My England shorts (2019), which I propose offer more rigorous, reflexive explorations into English national identity. As questions over England’s cultural and political representation become increasingly loaded and difficult to navigate, I suggest that the beginnings of this English national register in the theatre marks an attempt to nuance these debates, opening a productive space for critical inquiry.
摘要本文探讨了当代戏剧处理英国民族问题的方式。在当前英国权力下放运动的背景下,我运用了一种国家特色,专注于戏剧和表演,这些戏剧和表演只涉及英国三个国家之一的政治:英格兰。虽然这项关于英国和英国特色的研究已经在文学研究(加德纳)和政治学(肯尼;奈恩)中得到了证实,但在戏剧研究中,英国还没有持续的批判性参与。根据杰兹·巴特沃斯(Jez Butterworth)的《耶路撒冷》(Jerusalem)计划于2022年在伦敦西区复兴,我对其进行了讨论,然后转向最近在迈克·巴特利特(Mike Bartlett)的《阿尔比恩》(Albion)(2017年和2020年)和年轻维克(Young Vic)的“我的英格兰”(My England)短片(2019年)中对英国的两次戏剧再现,我建议这两部短片对英国的民族身份进行更严格、反射性的探索。随着有关英国文化和政治代表性的问题变得越来越重,越来越难以驾驭,我认为,这一英国国家登记册在剧院的开始标志着一种对这些辩论进行细致入微的尝试,为批判性调查打开了一个富有成效的空间。
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引用次数: 1
Sarah J. Ablett. Dramatic Disgust: Aesthetic Theory and Practice from Sophocles to Sarah Kane. Bielefeld: transcript, 2020, 199 pp., €38.00 (paperback), €37.99 (PDF ebook). Sarah J. Ablett。戏剧厌恶:从索福克勒斯到萨拉·凯恩的美学理论与实践。比勒菲尔德:成绩单,2020年,199页,38.00欧元(平装本),37.99欧元(PDF电子书)。
IF 0.5 0 THEATER Pub Date : 2021-10-23 DOI: 10.1515/jcde-2021-0028
Laurens De Vos
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引用次数: 0
期刊
Journal of Contemporary Drama in English
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