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The Garden of Dystopian Pleasures 反乌托邦式的快乐花园
IF 0.3 3区 艺术学 Q2 Arts and Humanities Pub Date : 2021-09-02 DOI: 10.1080/14682761.2021.1974693
P. de Senna, Foivos Dousos, Fil Ieropoulos, Richard Pfützenreuter
ABSTRACT This article offers a reflection on the authors’ curation of (Dousos and Ieropoulos) and participation in (de Senna and Pfützenreuter) The Garden of Dystopian Pleasures, a performance festival that took place at the Athens School of Fine Arts in 2018. Dousos and Ieropoulos present their thoughts around the need to curate such an event in the first place, discussing the context within which they operate, the Athenian art scene, while making the case that ambiguity as a political and poetical tool must not be surrendered to the right. De Senna and Pfützenreuter discuss their experiences in creating and performing right-wing personas that blur the lines between what is real and what is performed; engaging in strategies of overidentification, they initiate a discussion around the ethics and role of critical artistic practice in response to contemporary right-wing radicalisation and aesthetics. Mirroring the curatorially experimental nature of the festival, the contributors speak from multiple positionalities. As such, the structure and tone of the article attempt a destabilisation of the form of a conventional academic paper, avoiding an overall, singular summing-up of the positions presented, and allowing for shifts in register.
本文回顾了2018年在雅典美术学院举办的(de Senna and pfendenreuter)反乌托邦快乐花园(the Garden of Dystopian Pleasures)表演节的策展和参与过程。Dousos和Ieropoulos首先围绕策划这样一个事件的需要提出了他们的想法,讨论了他们运作的背景,雅典的艺术场景,同时提出了作为政治和诗歌工具的模糊性不能屈服于权利的情况。De Senna和pfpf岑罗伊特讨论了他们在创造和表演右翼人物角色方面的经验,这些角色模糊了真实与表演之间的界限;他们采用过度认同的策略,围绕伦理和批判艺术实践的角色展开讨论,以回应当代右翼激进化和美学。反映了电影节的策展实验性质,贡献者从多个角度发言。因此,文章的结构和语气试图打破传统学术论文的形式,避免对所呈现的立场进行全面、单一的总结,并允许在语域上发生变化。
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引用次数: 0
A history of robot camp: performing beyond the uncanny valley, from early twentieth-century automata to contemporary science fiction theatre 机器人阵营的历史:超越恐怖谷的表演,从二十世纪早期的自动机到当代科幻戏剧
IF 0.3 3区 艺术学 Q2 Arts and Humanities Pub Date : 2021-07-29 DOI: 10.1080/14682761.2021.1959182
Cole Remmen
ABSTRACT In this work, I intervene in discussions of robot performance, pointing to a history of a performance mode I classify as ‘robot camp’ that, in offering techniques that overcome potential affective repulsion to these near-human machines, shifted the trajectory of the relationship between humans and robots. I first invoke ideas of theatre artists Edward Gordon Craig and Oriza Hirata, along with theatre scholar Louise LePage’s reinterpretation of Judith Butler’s ‘performativity’, in order to offer a consideration of the robot as a performer. This leads to a reframing of Steve Dixon’s ‘metallic camp’ in conversation with Masahiro Mori’s concept of the uncanny valley (and through a return to Susan Sontag’s foundational ‘Notes on “Camp”’), through which I theorize the performance strategy of robot camp. I trace robot camp throughout the history of performative robot portrayals, primarily early twentieth-century automaton exhibitions and Elizabeth Meriwether’s contemporary science fiction play Heddatron, foregrounding how techniques of robot camp have been successfully employed to overcome affective uneasiness toward the robot (i.e., manifestations of the uncanny valley); in doing so, I highlight how live theatre has shaped public engagements with and imaginings of the robot from its early origins.
在这项工作中,我介入了对机器人性能的讨论,指出了一种我归类为“机器人阵营”的性能模式的历史,这种模式通过提供技术来克服对这些接近人类的机器的潜在情感排斥,改变了人类与机器人之间的关系轨迹。我首先引用了戏剧艺术家Edward Gordon Craig和Oriza Hirata的想法,以及戏剧学者Louise LePage对Judith Butler的“表演性”的重新诠释,以提供机器人作为表演者的考虑。这导致在与Masahiro Mori的恐怖谷概念的对话中重新构建Steve Dixon的“金属阵营”(并通过回归Susan Sontag的基础“关于“阵营”的笔记”),通过它我将机器人阵营的表演策略理论化。我追溯了整个机器人表演的历史,主要是20世纪早期的自动机展览和伊丽莎白·梅里韦瑟的当代科幻小说《海德顿》,展望了机器人营地的技术如何成功地克服了对机器人的情感不安(即恐怖谷的表现);在此过程中,我强调了现场戏剧如何从早期起源就塑造了公众对机器人的参与和想象。
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引用次数: 0
Myth and popular culture: Brough’s Victorian Burlesque Medea as a heterotopic cultural space 神话与大众文化:作为异位文化空间的维多利亚式滑稽美狄亚
IF 0.3 3区 艺术学 Q2 Arts and Humanities Pub Date : 2021-05-26 DOI: 10.1080/14682761.2021.1932076
Marta Villalba-Lázaro
ABSTRACT While Victorian classical burlesque has been traditionally dismissed as low culture for both, its insouciant treatment of classical mythology and its inability to raise serious social issues, this article focuses on Robert Brough’s Medea to demonstrate that his burlesque and its performance constitutes a fascinating example of a product of popular culture that discusses Victorian socio-political matters. Based on Brough’s political mindset, this paper reads his classical burlesque using a heterotopic perspective to analyse its potential to discuss Victorian paradigms of class, gender and racial divisions, even if it did it using music, puns, anachronisms and vulgar jokes.
虽然维多利亚时代的古典滑稽剧在传统上被认为是低俗文化,因为它对古典神话的漫不经心处理以及它无法提出严肃的社会问题,但本文主要关注罗伯特·布罗的《美狄亚》,以证明他的滑稽剧及其表演构成了讨论维多利亚时代社会政治问题的流行文化产品的一个迷人的例子。本文基于布劳的政治思维,从异位视角解读他的经典滑稽剧,分析其讨论维多利亚时代阶级、性别和种族划分范式的潜力,即使它使用音乐、双关语、时代错误和粗俗的笑话。
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引用次数: 0
41.2 Editorial 41.2编辑
IF 0.3 3区 艺术学 Q2 Arts and Humanities Pub Date : 2021-05-04 DOI: 10.1080/14682761.2021.1916280
Harriet Curtis
This is my first editorial as a new editor for Studies in Theatre and Performance. I am grateful to be joining this team at a key moment in re-shaping the priorities of theatre and performance studies in line with or in response to urgent global cultural, economic, and socio-political shifts. Studies in Theatre and Performance has always encouraged a variety of voices and perspectives in theatre and performance studies, and I, too, am committed to maintaining and expanding that through self-reflexive and field-wide reflections on the past, present, and future shape of the discipline as we continue to teach, research, and live through a period of uncertainty. The six articles collected in this issue offer a range of approaches to performance as a social practice that explores the liminal and the transformational. The authors elaborate on moments of pleasure, enchantment, grief, and mourning drawn out by and through performance, offering analyses of plays and performances emerging from navigating the joys and contradictions of everyday life. Matched by their rootedness in the material present, the articles also make connections to shifting historical narratives, reverence to ancestral pasts, the opening up of transformational spaces between the real and the ethereal, and performance’s ontological suspension of the rational. Each touches on the politics of temporality, on cycles of living from childhood, parenthood, illness, death, and beyond, each time returning to the will to life, to survival, and the possibilities in performance of staging life’s intricacies. Gloria Nwandu Ozor, Ciarunji Chesaina, and Masumi Odari’s article focuses on the Odo masquerade ritual of the Umulumgbe – a community in the South Eastern subtribe of the Igbo of Nigeria – representing the return of ancestors to the world of the living and the means through which actors represent the dead through imitation. The authors characterise the work of the Odo according to the division of labour, between those who administer and promote justice, and those who enforce laws, promote peace, and discourage physical conflict. Ultimately, though the focus of the Odo masquerade is on justice, peace, and conflict-resolution, analysed here as a social drama with a civic function, the authors also emphasise the Odo as a death ritual, whereby the dead are reunited with the living, transitioning from the spiritual to the physical. The themes of division, unity, conflict resolution, and community are continued in David Overend and Oliver Heath’s article, which focuses on The Majority, performed at the National Theatre in 2017. Conceived in response to the United Kingdom’s vote to leave the European Union in 2016, the audience’s use of voting technology is integral to the play’s structure. Prompted to vote ‘yes’ or ‘no’ to a series of propositions ranging from the seemingly mundane to the morally complex, the article focuses on the performance’s use of audience participation – the performance of
这是我作为《戏剧与表演研究》新编辑的第一篇社论。我很高兴能在一个关键时刻加入这个团队,以重新塑造戏剧和表演研究的优先事项,以配合或响应紧迫的全球文化、经济和社会政治变化。戏剧和表演研究一直鼓励戏剧和表演研究中的各种声音和观点,我也致力于在我们继续教学,研究和生活的不确定时期,通过对该学科过去,现在和未来形态的自我反思和全领域反思来保持和扩大这一点。本期收集的六篇文章提供了一系列将表演作为一种社会实践的方法,探索了阈限和转化。作者详细阐述了通过表演产生的快乐、迷人、悲伤和哀悼的时刻,分析了从日常生活的欢乐和矛盾中产生的戏剧和表演。与之相匹配的是,这些文章植根于当下的材料,它们还与不断变化的历史叙事、对祖先过去的崇敬、现实与虚无之间转换空间的开放、以及表演对理性的本体论暂停联系在一起。每一部作品都触及了短暂性的政治,触及了童年、为人父母、疾病、死亡等生命周期,每一次都回归到生命、生存的意志,以及演绎生命复杂性的可能性。Gloria Nwandu Ozor、Ciarunji Chesaina和Masumi Odari的文章聚焦于Umulumgbe社群(尼日利亚伊博族东南次部落)的Odo假面舞会仪式,表示祖先回归生者世界,以及演员模仿死者的方式。作者根据管理和促进正义的人与执行法律、促进和平和阻止身体冲突的人之间的分工来描述Odo的工作。最后,虽然Odo假面舞会的重点是正义、和平和解决冲突,在这里作为一出具有公民功能的社会戏剧进行分析,但作者也强调Odo是一种死亡仪式,死者与生者团聚,从精神到肉体的过渡。大卫·欧芬德和奥利弗·希思的文章延续了分裂、团结、解决冲突和社区的主题,重点介绍了2017年在国家剧院演出的《多数派》。为了回应2016年英国脱欧公投,观众对投票技术的使用是该剧结构中不可或缺的一部分。要求观众对一系列从看似平凡到道德复杂的命题投“是”或“否”票,这篇文章关注的是表演对观众参与的利用——“迷你公投”的表演——并分析了产生的数据。作者对大多数人的讨论侧重于投票的“社会表演”,以及它与个人和集体声音行使的联系。2,133 - 135 https://doi.org/10.1080/14682761.2021.1916280
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引用次数: 1
(Skin)Aesthetics (First Manifesto) (皮肤)美学(第一宣言)
IF 0.3 3区 艺术学 Q2 Arts and Humanities Pub Date : 2021-05-03 DOI: 10.1080/14682761.2021.1912489
Freya Verlander
ABSTRACT '(Skin)Aesthetics (First Manifesto)' offers an introduction to my new performance theory and method of performance analysis: ‘(skin)aesthetics’. In the spirit of a manifesto, I outline the theoretical development of (skin)aesthetics as an approach and its objectives. (Skin)aesthetics focusses on the spectator’s skin as an active and reciprocal site of engagement in the performance environment. It considers the way that other materials, and senses, represent or emulate the skin and the tactile sense, as well as investigating how the spectator’s skin-based experience might be manipulated to communicate meaning in performance environments. It asks how spectators might be drawn into empathetic relation with others through such skin-based experiences.
“(皮肤)美学(第一宣言)”介绍了我的新表演理论和表演分析方法:“(皮肤)美学”。本着宣言的精神,我概述了(皮肤)美学作为一种方法和目标的理论发展。(皮肤)美学关注观众的皮肤,将其作为表演环境中一个积极和互惠的参与场所。它考虑了其他材料和感官代表或模仿皮肤和触觉的方式,以及调查观众基于皮肤的体验如何在表演环境中被操纵来传达意义。它询问观众如何通过这种基于皮肤的体验与他人建立移情关系。
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引用次数: 1
‘He did not go back to the army’: war, patriotism and desertion in Pavel Pryazhko’s The Soldier “他没有回到军队”:帕维尔·普里日科的《士兵》中的战争、爱国主义和逃兵
IF 0.3 3区 艺术学 Q2 Arts and Humanities Pub Date : 2021-04-23 DOI: 10.1080/14682761.2021.1917873
J. Rowson
ABSTRACT Over the past twenty years, a collection of theatre makers in Russia have staged suppressed and marginalised voices to engage with the political and social realities of contemporary Russia. The work of these innovative theatre practitioners has been collated under the idiom of New Drama (Novaya Drama). Previous studies of New Drama have placed an emphasis on the role of the text and the playwright’s dynamic use of contemporary language. While acknowledging that these are important features of the New Drama repertoire, this article provides an alternative approach by examining the work of Pavel Pryazhko. This article explores Pryazhko’s The Soldier (Soldat, 2011), in the context of the Second Chechen War and Vladimir Putin’s revivification of the military in the public sphere. Through a detailed study of The Soldier in performance, this article contends that the production’s content and form is vital in generating an oppositional discourse about the role of the military in contemporary Russian society. Pryazhko’s eschewal of traditional notions of theatrical language and dialogic interaction in The Soldier disrupts the audience’s expectations of what a theatre performance is, and subsequently facilitates a wider dialogue about the Kremlin’s privileging of the military in Russia.
在过去的二十年里,俄罗斯的一群戏剧制作人上演了被压制和边缘化的声音,以参与当代俄罗斯的政治和社会现实。这些创新的戏剧从业者的作品被整理在新戏剧(Novaya Drama)的成语下。以往对新戏剧的研究侧重于文本的作用和剧作家对当代语言的动态使用。虽然承认这些是新戏剧曲目的重要特征,但本文通过研究帕维尔·普里日科的作品提供了另一种方法。本文在第二次车臣战争和弗拉基米尔·普京在公共领域复兴军队的背景下,探讨了普里日科的《士兵》(Soldat, 2011)。通过对《士兵》演出的详细研究,本文认为这部作品的内容和形式对于产生关于当代俄罗斯社会中军队角色的对立话语至关重要。普里日科在《士兵》中回避了戏剧语言和对话互动的传统观念,打破了观众对戏剧表演的期望,并随后促进了关于克里姆林宫对俄罗斯军队特权的更广泛的对话。
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引用次数: 0
Performativity and fragmentation in Samuel Beckettʼs That Time 塞缪尔·贝克特《那个时代》中的表演与碎片化
IF 0.3 3区 艺术学 Q2 Arts and Humanities Pub Date : 2021-04-19 DOI: 10.1080/14682761.2021.1917187
Aténé Mendelyté
ABSTRACT Samuel Beckett’s stage play That Time offers an aesthetic exploration of the paradoxical and deconstructive nature of identity and selfhood where the ability of narrative acts to express and capture a preexistent, originary identity is put into question. That Time implies that there is no such core identity and that any identity is constituted by performing and narrating one’s selfhood, thus questioning the hierarchy of the signifier and the signified. In this essay, I therefore read this play alongside Judith Butler’s notions of performativity, citationality, and subject formation in order to explore That Time’s constitution of the self and to show that Beckett’s play and its performance present a perfect instance of how narrative, to use Butler’s description, can bespeak its own impossibility, i.e., to deconstruct itself at the moment of its construction. I aim to reveal some key intersections between That Time and Butler’s thought since the former allows one to aesthetically experience her philosophical ideas and the latter aids in better articulating the complexity of the play’s performance.
塞缪尔·贝克特的舞台剧《那个时代》对身份和自我的矛盾和解构本质进行了美学探索,其中叙事行为表达和捕捉预先存在的原始身份的能力受到质疑。《时间》暗示不存在这样的核心身份,任何身份都是通过表演和叙述自我而构成的,从而质疑能指和所指的等级关系。因此,在这篇文章中,我将这部戏剧与朱迪思·巴特勒关于表演性、引用性和主体形成的概念一起阅读,以探索《那个时代》的自我构成,并表明贝克特的戏剧及其表演提供了一个完美的例子,用巴特勒的描述来说,叙事如何能够表达其自身的不可能性,即在其构建的那一刻解构自身。我的目的是揭示《那个时代》和巴特勒思想之间的一些关键交集,因为前者可以让人们从美学上体验她的哲学思想,而后者有助于更好地阐明戏剧表演的复杂性。
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引用次数: 0
The pleasure in moving: drawing the space through flamenco bodies 移动的乐趣:通过弗拉门戈身体来绘制空间
IF 0.3 3区 艺术学 Q2 Arts and Humanities Pub Date : 2021-04-09 DOI: 10.1080/14682761.2021.1913322
Miriana Lausic
ABSTRACT This article develops an analysis of flamenco performance and religious processions in Andalusia by deploying and extending Jean-Luc Nancy’s concept of drawing, using the results of extensive ethnographic field research completed by the author among the Roma community in southern Spain. The article demonstrates how the Gitano body becomes a corpus of drawing, in Nancy’s sense, through a performance of tracing. The logic of this trace entails an originary intermingling of time and space, as well as a structural overlapping of the animate and the inanimate. Far from being purely abstract, such tracing is read as the choreographed self-portraiture of the Gitano community itself. The author argues that the performers and ethnographic researcher meet and intersect in a shared space of extension. In this sense, the tracing of flamenco bodies parallels the performative dimension of auto-ethnographic writing.
文摘本文发展弗拉门戈的分析性能和安达卢西亚的宗教游行通过部署和扩展jean - luc南希的图的概念,使用广泛的人类学领域的研究结果完成作者在西班牙南部的罗马社区。这篇文章展示了吉塔诺的身体是如何成为绘画的主体的,在南希的意义上,通过追踪的表现。这种轨迹的逻辑需要时间和空间的原始交融,以及有生命和无生命的结构重叠。这种追踪远非纯粹的抽象,而是被解读为吉塔诺社区本身精心设计的自画像。作者认为,表演者和民族志研究者在一个共同的扩展空间中相遇和相交。从这个意义上说,对弗拉门戈尸体的追踪与自我民族志写作的表演维度是平行的。
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引用次数: 0
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 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
IF 0.3 3区 艺术学 Q2 Arts and Humanities Pub Date : 2021-03-26 DOI: 10.1080/14682761.2021.1902139
Ana Fernández-Caparrós
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.
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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引用次数: 0
Field works: wild experiments for performance research 野外工作:为性能研究而进行的野外实验
IF 0.3 3区 艺术学 Q2 Arts and Humanities Pub Date : 2021-03-07 DOI: 10.1080/14682761.2021.1895543
D. Overend
ABSTRACT This article reflects on a series of wild experiments in literal field sites. It develops a practice-based methodology that aims to identify, perform and assert wild presences and unruly processes, playfully engaging with vibrant and dynamic ecologies. To explore these concerns ‘in the field’, a series of research trips were undertaken in the United Kingdom between 2017 and 2020, including repeated visits to Knepp Wildland Project in West Sussex and Bamff Estate in Perthshire. These locations were chosen due to their engagement with rewilding as an experimental mode of ecosystem management. Rewilding is explored here as a process-driven approach to conservation that offers a potential model for transdisciplinary artistic research. Adopting and adapting its methods through a combination of place writing, collaborative performance making and site-specific art, a creative practice is developed that prompts collaborative ways of working in response to the ecologies, conceptualisations and performances of these field sites. Aiming to bring something back from the field into the academy, the article argues for a (re)wilding of disciplinary knowledge exchange. It concludes with a call for wild epistemology, proposing that research in specific field sites can be informed by an artistic practice that is entangled, unsettling and continually practiced.
本文是对一系列野外文学实验的反思。它开发了一种基于实践的方法,旨在识别,执行和维护野生存在和不受约束的过程,与充满活力和动态的生态嬉戏。为了在“实地”探索这些问题,我们在2017年至2020年期间在英国进行了一系列研究之旅,包括反复访问西苏塞克斯郡的Knepp Wildland项目和珀斯郡的班夫庄园。之所以选择这些地点,是因为它们作为生态系统管理的实验模式参与了野生化。在这里,将野生化作为一种过程驱动的保护方法进行探索,为跨学科艺术研究提供了一个潜在的模型。采用并调整其方法,结合地方写作,协作表演制作和特定地点的艺术,开发了一种创造性的实践,促进协作的工作方式,以响应这些现场的生态,概念化和表演。为了将一些东西从野外带回学术界,文章主张(重新)开展学科知识交流。它以呼吁野生认识论作为结论,提出在特定领域的研究可以通过一种纠缠的、令人不安的、不断实践的艺术实践来获得信息。
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引用次数: 0
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Studies in Theatre and Performance
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