Studies in Theatre and Performance最新文献

英文中文

Composting Grief: Part II & III 堆肥悲伤:第二和第三部分

IF 0.3 3区艺术学 Q2 Arts and Humanities

Studies in Theatre and Performance

Pub Date : 2022-09-02 DOI: 10.1080/14682761.2022.2136300

melissandre varin, Carmen Wong

ABSTRACT These are parts 2 and 3 of a conversation and a practice of listening about and speaking of composting grief. The exchange, between melissandre varin and Carmen Wong, was initiated via voice notes, voicemails, and WhatsApp recordings and was transcribed and composed/composted visually with illustrations by N. Drofiak.

这是一段对话的第二部分和第三部分，是关于倾听和谈论堆肥悲伤的练习。melissandre varin和Carmen Wong之间的交流是通过语音笔记、语音邮件和WhatsApp录音开始的，并由N. Drofiak以视觉方式转录和合成/堆肥，并配有插图。

引用次数: 0

Making Sense: Part I 讲道理:第一部分

IF 0.3 3区艺术学 Q2 Arts and Humanities

Studies in Theatre and Performance

Pub Date : 2022-09-02 DOI: 10.1080/14682761.2022.2136338

Lou Sarabadzic

ABSTRACT This offering is part 1 of 3 in Lou Sarabadzic’s series Making Sense, which re-visits the exploration of the physicality and materiality of language in her video work Traces (2021).

本作品是卢·萨拉巴齐奇的“Making Sense”系列作品的第三部分之一，该系列重新审视了她在录像作品《Traces》(2021)中对语言的物质性和物质性的探索。

引用次数: 0

Making Sense: Part II 理解:第二部分

IF 0.3 3区艺术学 0 THEATER

Studies in Theatre and Performance

Pub Date : 2022-09-02 DOI: 10.1080/14682761.2022.2136341

Lou Sarabadzic

ABSTRACT This offering is part 2 of 3 in Lou Sarabadzic’s series Making Sense, which re-visits the exploration of the physicality and materiality of language in her video work Traces (2021).

本作品是卢·萨拉巴齐奇的“制造意义”系列作品的第二部分，该系列作品重新审视了她在录像作品《痕迹》(2021)中对语言的物质性和物质性的探索。

引用次数: 0

ANTI – PERFORMANCE AS PRAXIS 反性能作为实践

IF 0.3 3区艺术学 0 THEATER

Studies in Theatre and Performance

Pub Date : 2022-09-02 DOI: 10.1080/14682761.2022.2136331

Raju Rage

ABSTRACT Anti-performance is a term that I use to describe my body of performances, which in actuality are also ephemeral moments in time-space. The ‘anti’ is derived and borrowed from anti-colonial, the radical (root) of ‘decolonial’ and ‘post’ colonial, in this case a direct opposition to what is expected of gendered, racialised bodies, by audiences but also that which is usually invited by institutions. The anti-performances discussed in this article – (Can the Subaltern Speak?)… YEAH BUT CAN WE LISTEN THO? (2015), Transistence, Moving Into Sunlight (2021), and Let Them Eat Cake/May The One Without Hunger Lift The First Knife (2016) – refuse the objectification and spectacle of my so-called ‘marginalised’ body and how it is often consumed, violated, devalued, and exhausted, and instead seeks to subvert the gaze, interrupt voyeurism, reclaim wellbeing, as well as querying what we think we know. Anti-performance centres myself as performer (ourselves when collective) rather than the audience; this, however, is not intended to be divisive, as the audience members are often witness to and/or accomplices of the performance if they choose to be. Anti-performance strives to transform the paradigm of ‘consumer’ (audience and institution) and ‘consumed’ (performer) to something much more ethical and with integrity.

反表演(Anti-performance)是我用来描述我的表演主体的一个术语，它实际上也是时空中短暂的瞬间。“反”一词来源于反殖民主义，它是“去殖民主义”和“后殖民主义”的根本(根源)，在这种情况下，它直接反对观众对性别化、种族化的身体的期望，也反对通常由机构邀请的东西。这篇文章讨论的反表演-(次官能说话吗?)…是的，但是我们能听进去吗?(2015)、《晶体》、《走向阳光》(2021)和《让他们吃蛋糕/愿没有饥饿的人举起第一把刀》(2016)——拒绝我所谓的“边缘化”身体的物化和景观，以及它是如何经常被消耗、侵犯、贬值和耗尽的，而是寻求颠覆凝视、打断偷窥、重获幸福，以及质疑我们自以为知道的东西。反表演把我作为表演者(当我们是集体时)而不是观众作为中心;然而，这并不是为了引起分歧，因为观众经常是表演的见证人和/或同谋，如果他们选择这样做的话。反表演致力于将“消费者”(观众和机构)和“被消费”(表演者)的范式转变为更加道德和正直的东西。

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引用次数: 0

Fragments of Encounters 相遇的片段

IF 0.3 3区艺术学 0 THEATER

Studies in Theatre and Performance

Pub Date : 2022-09-02 DOI: 10.1080/14682761.2022.2136280

nomi blum

ABSTRACT Fragments of Encounters is a performance-installation based research project that was first performed at the Infecting the City public art festival in 2019 in Cape Town. The project was build around a personal archive (over 150 hours of audio recorded material), comprised of fragments of everyday encounters and conversations with South Africans, Zimbabweans, Congolese, Nigerians, Pakistanis, Somalians, Tanzanians, Romanians, Roma and others, who prefer to remain anonymous, and memories of my own. The archive assumes a double role; it is both a mnemonic instrument and a geography of my encounters. The work recreates a mixture of cultures, identities and geographies that need to be decoded and interpreted as way to make meaning. One needs to learn and to un-learn at the same time in order to adapt to unfamiliar contexts.

片段相遇(Fragments of Encounters)是一个基于行为装置的研究项目，于2019年在开普敦的感染城市公共艺术节上首次展出。这个项目是围绕一个个人档案(超过150小时的录音材料)建立的，包括与南非人、津巴布韦人、刚果人、尼日利亚人、巴基斯坦人、索马里人、坦桑尼亚人、罗马尼亚人、罗姆人以及其他不愿透露姓名的人的日常接触和对话的片段，以及我自己的记忆。档案馆承担着双重角色;它既是一种记忆工具，也是我遇到的人的地理位置。该作品再现了一种文化、身份和地理的混合，需要解码和解释，以创造意义。为了适应不熟悉的环境，一个人需要同时学习和放弃学习。

引用次数: 0

Exhibition curation as practice-as-research performance historiography: an incomplete story of audience experience 展览策展作为实践-研究的表演史学:一个不完整的观众体验故事

IF 0.3 3区艺术学 Q2 Arts and Humanities

Studies in Theatre and Performance

Pub Date : 2022-07-26 DOI: 10.1080/14682761.2022.2105544

Kate Holmes

Taking an interdisciplinary approach to information-led exhibitions focused on performance can be considered practice-as-research historiography if curation is engaged with as praxis. Approaching exhibition curation as research praxis is a knowledge-making process, reconfiguring exhibitions as far more than a ‘pathway to impact’ designed at securing a grant. In the curation of two linked exhibitions on nineteenth-century popular entertainments at the Bill Douglas Cinema Museum and University of Bristol Theatre Collection, which were stunted due to COVID-19, I developed an argument for the shared ground of exhibitions and performance. If archival objects can perform, the exhibition space itself is a stage through which they communicate embodied meanings to audiences. I explore how exhibition curation generates different epistemologies to written research by putting museum studies, performance history, audience studies and performance practice-as-research in conversation. I demonstrate how museum studies could benefit from performance in developing epistemological arguments, and how performance studies can more significantly privilege the audience in the knowledge production process. I conclude my findings by discussing how planned activities and lessons learnt from these exhibitions could provide a blueprint for practitioners interested in using the exhibition form and format to conduct historically relational practice-research inquiries in conversation with audiences. © 2022 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group.

如果策展作为一种实践，那么采用跨学科的方法来关注以信息为主导的展览，可以将其视为实践作为研究的史学。将展览策展作为研究实践是一个知识生成的过程，重新配置展览远不止是为了获得资助而设计的“影响途径”。在比尔·道格拉斯电影博物馆和布里斯托尔大学剧院收藏的两个19世纪流行娱乐展览的策展过程中，我提出了一个关于展览和表演共享基础的论点，这些展览因COVID-19而受到阻碍。如果档案物品可以表演，那么展览空间本身就是一个舞台，通过这个舞台，档案物品可以向观众传达其所体现的意义。我通过将博物馆研究、表演历史、观众研究和表演实践作为研究放在对话中，探索策展如何为书面研究产生不同的认识论。我展示了博物馆研究如何从发展认识论论证的表演中受益，以及表演研究如何在知识生产过程中更显着地赋予观众特权。我通过讨论计划中的活动和从这些展览中吸取的经验教训如何为有兴趣使用展览形式和形式的从业者提供蓝图，从而在与观众的对话中进行历史相关的实践研究询问。©2022作者。由Informa UK Limited出版，以Taylor & Francis Group的名义进行交易。

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引用次数: 0

Dancers as interpreters: the aesthetics and social commentary of Hausa Koroso Dance 作为诠释者的舞者:豪萨科罗索舞蹈的美学与社会评论

IF 0.3 3区艺术学 Q2 Arts and Humanities

Studies in Theatre and Performance

Pub Date : 2022-07-26 DOI: 10.1080/14682761.2022.2105541

Olumuyiwa A. Akande

ABSTRACT

Dance, commonly seen as the art of rhythmical movements of the body, is actually a vehicle to project ideas, be it social, cultural, or even political, particularly among the Hausas in Northern Nigeria. Previous studies of Hausa Koroso Dance have focused mainly on its aesthetics, while little cognizance has been given to the interpretative roles of the dance. This article examines the interpretative roles that dance plays in social milieu amongst the Hausas, and establishes how dance can be employed to interpret social and political ideas. Hausa Koroso Dance is identified as a form of total theatre called Kalankuwa. The dance (or dance-drama) is used to critique the ruling dynasties. In its economic role, it is performed to facilitate work by rhythmical execution of work-movements with musical accompaniments. Koroso Dancers ridicule socially unacceptable behaviours through carefully executed mimetic dance movements. Hausa Koroso Dance typifies the interpretative roles that dance, as an aesthetic practice, can play in contributing to societal progress and development.

摘要舞蹈，通常被视为身体有节奏的运动艺术，实际上是一种投射思想的工具，无论是社会，文化，甚至是政治，特别是在尼日利亚北部的豪萨人中。以往对豪萨科罗索舞蹈的研究主要集中在其美学上，而很少认识到舞蹈的解释作用。本文考察了舞蹈在豪萨人的社会环境中扮演的解释性角色，并确立了舞蹈如何被用来解释社会和政治观念。豪萨科罗索舞蹈被认为是一种叫做Kalankuwa的整体戏剧形式。这种舞蹈(或舞剧)是用来批判统治王朝的。在经济方面，它的作用是通过有节奏地执行工作动作和音乐伴奏来促进工作。克罗索舞者通过精心执行的模仿舞蹈动作来嘲笑社会上不可接受的行为。豪萨科罗索舞蹈代表了舞蹈作为一种审美实践，在促进社会进步和发展方面所发挥的解释性作用。

引用次数: 0

Editorial (42.2) 编辑(42.2)

IF 0.3 3区艺术学 0 THEATER

Studies in Theatre and Performance

Pub Date : 2022-07-06 DOI: 10.1080/14682761.2022.2097368

Tom Cornford

Abstract

This editorial explores synergies between the articles gathered in this issue, which take a range of approaches to developing ecological analyses of both the creation and reception of performances and theatre history more widely. The editorial concludes with a reflection on the current UK government’s deliberate dereliction of the higher education sector, and its consequnces for the arts and humanities in particular. It calls for a concerted effort to grasp the politics of this developing situation, arguing that this will require two things. First, we must understand the drastic reshaping of the sector and the reduction of arts and humanities provision as a deliberate objective of government. Secondly, we must seek to engage resistance to this project at the ecological level at which those of us who work in the sector are entangled in its delivery, and find ways of creating alternative possibilities.

摘要这篇社论探讨了本期文章之间的协同作用，这些文章采用了一系列的方法来更广泛地发展对表演创作和接受以及戏剧史的生态分析。这篇社论最后反思了当前英国政府对高等教育部门的故意忽视，尤其是对艺术和人文学科的影响。它呼吁各方齐心协力，把握这一发展形势的政治，认为这需要两件事。首先，我们必须明白，政府有意为之的一个目标是，对教育部门进行剧烈的重塑，减少艺术和人文学科的提供。其次，我们必须在生态层面上寻求对这个项目的抵制，因为我们这些在这个领域工作的人被它的交付纠缠在一起，并找到创造替代可能性的方法。

引用次数: 0

Testing scores for performing placestories 执行地点故事的测试分数

IF 0.3 3区艺术学 0 THEATER

Studies in Theatre and Performance

Pub Date : 2022-03-09 DOI: 10.1080/14682761.2022.2046366

Phil M. Smith

ABSTRACT This paper describes an experimental project conducted by artists/researchers Crab & Bee (Helen Billinghurst and Phil Smith). The project was put together in response to the Covid Lockdown restrictions during 2020 in the UK and drew upon an art and performance practice that had been unfolding since 2018. ‘Testing Scores for Performing Placestories’ describes the testing of a group of scores (with accompanying avatars, gameboards, narratives and images) for participants to perform in their own homes, for their effectivesss (or lack of it) in encouraging participants to make displaced performances by ‘fictioning’ with unhuman agents. The scores were based on narrative features of a terrain around the Tamar river system (a post-industrial landscape of former mining sites, ruined quays and hollow lanes, with a troubled ecology and a varied folklore) gathered by Crab & Bee during performative visits to these sites. The players were encouraged to use the games to immerse themselves, in displaced domestic settings, in the materials and folkloric revenant of the wounded terrain and then invited to respond to their experiences. The second half of the paper addresses what the 22 detailed responses from the participants reveal, and draws some provisional conclusions.

本文描述了艺术家/研究人员Crab & Bee (Helen Billinghurst和Phil Smith)进行的一个实验项目。该项目是为了应对2020年英国的新冠肺炎封锁限制而制定的，并借鉴了自2018年以来一直在开展的艺术和表演实践。“表演地点故事的测试分数”描述了一组分数的测试(附带头像，游戏板，叙述和图像)，让参与者在自己的家中表演，看看他们是否有效(或缺乏)鼓励参与者通过与非人类代理人“虚构”来进行替代表演。这些分数是基于他玛河系统周围地形的叙事特征(一个由前采矿地点、被毁坏的码头和空心车道组成的后工业景观，有着混乱的生态和各种各样的民间传说)，螃蟹和蜜蜂在对这些地点的表演访问中收集到的。鼓励玩家使用游戏来沉浸在流离失所的家庭环境中，沉浸在受伤地形的材料和民俗中，然后邀请他们对自己的经历做出回应。论文的后半部分阐述了参与者的22个详细回答所揭示的内容，并得出了一些临时结论。

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引用次数: 0

Negotiating cultural exchange. Federico García Lorca on the British stage from the Spanish civil war until the mid-fifties 商谈文化交流。费德里科García洛尔卡在英国舞台上从西班牙内战直到50年代中期

IF 0.3 3区艺术学 Q2 Arts and Humanities

Studies in Theatre and Performance

Pub Date : 2022-03-08 DOI: 10.1080/14682761.2022.2035120

María Bastianes

ABSTRACT This article seeks to reconstruct and explore the initial theatrical reception of Lorca in the UK, focusing on why and how his texts entered the British theatrical ecosystem, and how they created connections among artists in and beyond Britain. This exploration of a largely ignored archive of the past also opens new gates for future theoretical reflections surrounding the complex symbolic weight of the author and his work. This, in turn, offers an insightful case study for analysing the role of theatre in forging national imaginaries and creating cultural exchange between artists of different countries in the tumultuous decades of pre and post-Second World War, a period of crisis of national/European imaginaries and realignment of global geopolitical powers that in many ways mirrors our post Brexit COVID 19 present.

本文试图重建和探索洛尔卡在英国最初的戏剧接受，重点关注他的文本为什么和如何进入英国戏剧生态系统，以及它们如何在英国内外的艺术家之间建立联系。这种对过去大部分被忽视的档案的探索也为未来围绕作者及其作品的复杂象征重量的理论反思打开了新的大门。这反过来又为分析戏剧在第二次世界大战前后动荡的几十年里在塑造国家想象和创造不同国家艺术家之间文化交流方面的作用提供了一个富有洞察力的案例研究，这是一个国家/欧洲想象危机和全球地缘政治力量重新调整的时期，在许多方面反映了我们脱欧后的现状。

引用次数: 0

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Studies in Theatre and Performance

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