Most LGBTQ+ theatre audience members are familiar with the disappointment of plays with LGBTQ+ topics. Will the queer and/or trans characters survive the play? Will the narrative revolve entirely around being outed, attacked, and/or ostracized? Although these are certainly tropes we have seen in gay and lesbian drama, there have also been standout plays that normalize queerness written by queer writers. And yet like so much else in the fight for LGBTQ+ rights, trans and non-binary representation has struggled with visibility for much longer with far fewer well-known texts that normalize trans presence within a range of stories. Despite Time magazine declaring that there was a “transgender tipping point” in American culture in 2014, almost a decade later theatre still has not caught up to the amount of trans representation seen on television.1
{"title":"The Trans Theatre Tipping Point","authors":"B. Rowen","doi":"10.1162/pajj_r_00688","DOIUrl":"https://doi.org/10.1162/pajj_r_00688","url":null,"abstract":"Most LGBTQ+ theatre audience members are familiar with the disappointment of plays with LGBTQ+ topics. Will the queer and/or trans characters survive the play? Will the narrative revolve entirely around being outed, attacked, and/or ostracized? Although these are certainly tropes we have seen in gay and lesbian drama, there have also been standout plays that normalize queerness written by queer writers. And yet like so much else in the fight for LGBTQ+ rights, trans and non-binary representation has struggled with visibility for much longer with far fewer well-known texts that normalize trans presence within a range of stories. Despite Time magazine declaring that there was a “transgender tipping point” in American culture in 2014, almost a decade later theatre still has not caught up to the amount of trans representation seen on television.1","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"14 1","pages":"117-121"},"PeriodicalIF":0.3,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86848343","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The ultimate denigration of ornament has often been attributed to the famous modernist architect Adolph Loos, although he never said the famous words explicitly in his startlingly racist and misogynist 1908 manifesto “Ornament and Crime.” Nevertheless, his statement in that essay, that “the evolution of culture is synonymous with the removal of ornament from utilitarian objects,” captured a prejudice that adorns popular notions of modernist aesthetics to this day. Smooth, functional, opposed in every way to the useless, excessive aesthetics we call baroque.
对装饰的终极诋毁通常被认为出自著名的现代主义建筑师阿道夫·卢斯(Adolph Loos)之口，尽管他在1908年发表的带有种族主义和厌女主义色彩的宣言《装饰与犯罪》(decoration and Crime)中从未明确说出这句名言。然而，他在那篇文章中所说的“文化的进化等同于从实用物品中去除装饰”抓住了一种偏见，这种偏见至今仍点缀着现代主义美学的流行观念。流畅，实用，在各个方面都反对无用的，我们称之为巴洛克的过度美学。
{"title":"Modernism’s Hidden Ornament","authors":"William Egginton","doi":"10.1162/pajj_r_00687","DOIUrl":"https://doi.org/10.1162/pajj_r_00687","url":null,"abstract":"The ultimate denigration of ornament has often been attributed to the famous modernist architect Adolph Loos, although he never said the famous words explicitly in his startlingly racist and misogynist 1908 manifesto “Ornament and Crime.” Nevertheless, his statement in that essay, that “the evolution of culture is synonymous with the removal of ornament from utilitarian objects,” captured a prejudice that adorns popular notions of modernist aesthetics to this day. Smooth, functional, opposed in every way to the useless, excessive aesthetics we call baroque.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"93 1","pages":"113-116"},"PeriodicalIF":0.3,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85246074","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Theatertreffen, Berliner Festspiele, Berlin, Germany, May 12–28, 2023.At the start of the 2023 Theatertreffen—the sixtieth annual roundup of the ten best German-language theatre productions of the past year—Ukrainian President Volodymyr Zelensky visited Berlin and was received grandly by Germany’s president, Frank-Walter Steinmeier. Berlin is close to the Polish border, and on the other side of Poland lies Ukraine, a daylong drive from Berlin. One might expect that the imminent danger of Putin’s invasion of Ukraine would have been manifest in the Theatertreffen selections, as it was constantly discussed in the German news and cerebral television talk shows. The seven-member jury, expressly constituted with a quota of over fifty percent women, viewed 451 productions to make the selections, which were restaged in Berlin for the festival.If any theme emerged from the offerings that I saw (seven of the ten chosen productions), it was that German-language theatre continues to examine its cultural consciousness for the roots and recurrence of fascism, or National Socialism. And not without reason, as demonstrated by the arrest in December 2022 of twenty-five co-conspirators of the so-called Reichsbürger movement who were plotting to overthrow the government, including a descendant of the aristocratic Hohenzollern family and a member of the German parliament from the neofascist party Alternative für Deutschland (AfD). A kind of time warp was the other Leitfaden or throughline in Theatertreffen: historicizing storylines, a self-consciousness or embedded critique of the material in order to place it at a historical distance. In this category might fall Ein Sommernachtstraum [A Midsummer Night’s Dream], Ophelia’s Got Talent, Der Bus nach Dachau [The Bus to Dachau], Das Vermächtnis [The Inheritance], Die Eingeborenen von Maria Blut [The Natives of Maria Blut], and Ibsen’s Nora, better known outside of Germany as A Doll’s House. These were, in a sense, presentations of presentations, not entirely successful, but always ambitious.The layering of its ingenious costumes told the (unsubtle) story of the fascist takeover of a village in Die Eingeborenen von Maria Blut, based on a 1937 satirical novel by Maria Lazar, its stage version written by Lucia Bihler and Alexander Kerlin. Bihler directed the production that was initially staged at the Burgtheater, Vienna.1 The fanciful staging, with its bobblehead, child-like characters, gave a frighteningly convincing yet ridiculous account of how easily fascist nonsense becomes mainstream. Die Eingeborenen, in all its silliness, made a stronger political statement than the literal indictment of Nazism found in another Theatertreffen offering, Der Bus nach Dachau, whose reenactment of concentration camps took on a serious subject without evidencing any fresh thought.In German theatre, culture, politics, as well as contemporary history, the echoes of Nazism are always to be heard: as a warning, a parable, or touchstone. Th
其他方面才华横溢的德国演员远不如他们的美国同行那么健壮，所以复杂的舞台装饰可能是为了弥补。该剧的大部分内容都暗示了一个关于中心人物的神秘起源，他无法爱也无法说出真相。他在文学上的成功——表面上是自传，在百老汇广受好评——结果都是虚构的。然后他甩了他忠诚的男友，和一个妓女勾搭上了——她最终也拒绝了他——最后在一场激烈的车祸中自杀了。这不是最令人愉快的故事，但仍然充满了爱。据说，剧中部分情节发生的乡间别墅曾接待过几百名后来死于艾滋病的男子，其中包括一位邻居的儿子，他是剧中唯一的女性。在《诺拉》中，继承的房子和对时间对故事影响的思考以一种不同的形式出现。《诺拉》于1879年在丹麦首次创作，第二年在德国创作，在那里它有一个不同的结局，诺拉留下来而不是抛弃她的孩子。在费利西塔斯·布鲁克(Felicitas Brucker)执导的《<s:1> nchner Kammerspiele》(mnchner Kammerspiele)的作品中，一开始是几个演员在玩具屋的投影前做桌子工作，四周都是雪花，诺拉表现出了她是多么暴躁——失控，大喊大叫，谴责戏剧人物，在剧中她被直接描述为“赫尔穆特的妻子”。在对话的第一个词出现之前，她就已经处于从属地位，正如诺拉指出的那样。对人物名单的分析还在继续，这是这部作品的关键。这部作品被称为“惊悚片”，由西万·本·伊沙、亨里克·易卜生、格希尔德·施泰因布施和伊夫娜Žic共同创作，由托比亚斯·赫茨伯格和欣里奇·施密特-汉高翻译成德语。女仆抱怨说，她被简单地列为一个没有名字的“仆人”。邮差抗议，因为他排在最后一个角色，而且名字也没有，尽管他在情节中很重要。然后他长时间地退场，一次又一次地拒绝消失，徘徊在聚光灯下。剧本解决了易卜生文本的缺点，即不允许这些其他角色说话或推动情节发展。这三个孩子通常被描绘成顽皮的小老鼠，他们有自己的回顾，情节结束后的场景，他们讨论诺拉的育儿决定。同样，诺拉的童年好友克里斯蒂娜，为了维持生计而挣扎，不止一次地谴责易卜生的剧本。这种效果有点像笑话，但又带有严肃的意味，迫使人们从最基本的层面重新考虑这部剧。当人物在剧本中公开反对他们的从属地位时，显然扩大了易卜生批判的范围。这部戏剧不再仅仅是女权主义解放的早期姿态，它成为了对社会等级制度及其对个人生活造成的伤害的更全球性的批评。这是一部聪明而有分量的作品;仍然可以认出易卜生，但现在又重新焕发了活力。这个场景由Viva Schudt设计，他也设计了服装，一开始是一个颠倒的房子。它与舞台地面呈45度角，所以演员必须四处爬，试图找到他们的立足点。在不同的点上，比如当一个角色的成就或自我定义的努力受到阻碍或威胁时，这个特定的玩家就会从集合中滑落，这意味着他或她失去了地位。灰色的雨投影在房子上，不自然地不断向上滚动。后来，彩色投影生动地抓住了布景，它破碎的表面变成了一个令人兴奋的投影屏幕。还有两次令人难忘的默哀。邮差长时间的离开是其中之一;既然他已经发表了批评意见，行动和沉默就说明了一切。在故事的最后，当赫尔穆特(埃德蒙·Telgenkämper饰演)终于开始理解诺拉的情况时，另一次沉默出现了，这使得易卜生剧本的改编有了相当大的深度。易卜生所有的行动，所有对他的文字的改写，以及所有嵌入场景的信息和政治，都在这些深刻的，无言的分钟里被详述。这是最好的现场表演，通过没有口头语言让观众安静下来，同时吸引了他们的注意力。也许是为了回答“为什么当代德国音乐剧不那么容易传播”这个令人困扰的问题，策展人策划了《未来与未来》(Der inzige und sein Eigentum)，充满了华丽的服装、舞蹈和塞巴斯蒂安·哈特曼(Sebastian Hartmann)和PC·纳克特(PC Nackt)的音乐，灵感来自19世纪后黑格尔哲学家马克斯·施蒂纳(Max Stirner)。这部作品由塞巴斯蒂安·哈特曼(Sebastian Hartmann)为柏林德意志剧院(Deutsches Theater Berlin)导演和设计，Theatertreffen的复兴也在这里上演。“德国音乐剧”听起来像是一个矛盾修饰法，至少在歌词出现之前是这样。
{"title":"Historical Legacies","authors":"Paul David Young","doi":"10.1162/pajj_a_00683","DOIUrl":"https://doi.org/10.1162/pajj_a_00683","url":null,"abstract":"Theatertreffen, Berliner Festspiele, Berlin, Germany, May 12–28, 2023.At the start of the 2023 Theatertreffen—the sixtieth annual roundup of the ten best German-language theatre productions of the past year—Ukrainian President Volodymyr Zelensky visited Berlin and was received grandly by Germany’s president, Frank-Walter Steinmeier. Berlin is close to the Polish border, and on the other side of Poland lies Ukraine, a daylong drive from Berlin. One might expect that the imminent danger of Putin’s invasion of Ukraine would have been manifest in the Theatertreffen selections, as it was constantly discussed in the German news and cerebral television talk shows. The seven-member jury, expressly constituted with a quota of over fifty percent women, viewed 451 productions to make the selections, which were restaged in Berlin for the festival.If any theme emerged from the offerings that I saw (seven of the ten chosen productions), it was that German-language theatre continues to examine its cultural consciousness for the roots and recurrence of fascism, or National Socialism. And not without reason, as demonstrated by the arrest in December 2022 of twenty-five co-conspirators of the so-called Reichsbürger movement who were plotting to overthrow the government, including a descendant of the aristocratic Hohenzollern family and a member of the German parliament from the neofascist party Alternative für Deutschland (AfD). A kind of time warp was the other Leitfaden or throughline in Theatertreffen: historicizing storylines, a self-consciousness or embedded critique of the material in order to place it at a historical distance. In this category might fall Ein Sommernachtstraum [A Midsummer Night’s Dream], Ophelia’s Got Talent, Der Bus nach Dachau [The Bus to Dachau], Das Vermächtnis [The Inheritance], Die Eingeborenen von Maria Blut [The Natives of Maria Blut], and Ibsen’s Nora, better known outside of Germany as A Doll’s House. These were, in a sense, presentations of presentations, not entirely successful, but always ambitious.The layering of its ingenious costumes told the (unsubtle) story of the fascist takeover of a village in Die Eingeborenen von Maria Blut, based on a 1937 satirical novel by Maria Lazar, its stage version written by Lucia Bihler and Alexander Kerlin. Bihler directed the production that was initially staged at the Burgtheater, Vienna.1 The fanciful staging, with its bobblehead, child-like characters, gave a frighteningly convincing yet ridiculous account of how easily fascist nonsense becomes mainstream. Die Eingeborenen, in all its silliness, made a stronger political statement than the literal indictment of Nazism found in another Theatertreffen offering, Der Bus nach Dachau, whose reenactment of concentration camps took on a serious subject without evidencing any fresh thought.In German theatre, culture, politics, as well as contemporary history, the echoes of Nazism are always to be heard: as a warning, a parable, or touchstone. Th","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"71 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136354413","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Meg Stuart’s Cascade and Anne Teresa De Keersmaeker’s The Goldberg Variations, BWV 988 are exercises in endurance. Each choreographer uses a different strategy of endurance to grapple with the theme of interruption. Stuart’s approach is maximalist, while De Keersmaeker employs bareness. The world of Cascade stages stamina and fortitude through excess of scale, sound bombardments, and electrified bodies ricocheting off one another in a dazzling push-pull of shared space and weight. On Philippe Quesne’s set of exaggerated inflatables, dangling rope baskets, and a sharp ramp to nowhere, Cascade blasts pulsing beats, bright lights, and sensory overdrive in a plea for feeling and togetherness. On another stage, De Keersmaeker’s persistence and determination takes shape through a paring down to one dancer—De Keersmaeker—moving through a starkly lit two-hour solo on Minna Tikkainen’s nearly bare stage, accompanied by Alain Franco playing from memory the entirety of J. S. Bach’s 1741 Goldberg Variations. Both Stuart and De Keersmaeker revel in exquisite movement and gesture in these bold pleas for makers and watchers to continue onwards, despite—or perhaps fueled by—discomfort in the face of ongoing obstacle and rupture.
梅格·斯图尔特的《瀑布》和安妮·特蕾莎·德·科尔斯梅克的《哥德堡变奏曲》，bwv988都是耐力训练。每个编舞都使用不同的耐力策略来处理中断的主题。Stuart的方法是最大限度的，而De keersmaaker则采用赤裸的方式。在《Cascade》的世界中，玩家需要通过规模过大、声音轰炸和带电的身体在共享空间和重量的令人眼花缭乱的推拉中相互弹跳，来展现耐力和坚韧。在菲利普·奎因(Philippe Quesne)设计的夸张的充气装置、晃来晃去的绳索篮子和一个无处可去的陡坡上，喀斯喀特(Cascade)发出脉动的节奏、明亮的灯光和感官的过度驱动，呼吁情感和团聚。在另一个舞台上，德·基尔斯梅克的坚持和决心通过一个舞者——德·基尔斯梅克——在明娜·蒂凯宁(Minna Tikkainen)几乎空无一物的舞台上，在灯光昏暗的两小时独奏中表现出来，伴随着阿兰·佛朗哥(Alain Franco)凭记忆演奏了巴赫(J. S. Bach) 1741年的《戈德堡变奏曲》(Goldberg Variations)。斯图尔特和德基尔斯梅克都陶醉于精妙的动作和姿态，大胆地呼吁创作者和观众继续前进，尽管——或者可能是由于面对持续的障碍和破裂而感到不安。
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In the beginning was the face. In Romeo Castellucci’s 2011 theatre piece On the Concept of the Face, Regarding the Son of God, the titular face was the inescapable, disconcerting, beatific visage of Jesus that dominated the mise-en-scène, gazing out across the audience as it gazed back. Castellucci borrowed the face from a detail of the 1465 oil on wood image known as Christ Blessing painted by Renaissance master Antonello de Messina, which depicts Jesus as Salvator Mundi—the savior of the world. Projected across a vast backdrop that loomed over the action unfolding beneath it, the face stared placidly outwards, luminescent and enormous, inviting—or perhaps challenging— all who viewed it to contemplate its inscrutable regard.
一开始是脸。在罗密欧·卡斯特鲁奇(Romeo Castellucci) 2011年的戏剧作品《论脸的概念，关于上帝之子》(On the Concept of the Face, about the Son of God)中，名义上的脸是耶稣不可避免的、令人不安的、幸福的面孔，它主宰了整个场景，凝视着观众，也凝视着观众。卡斯特鲁奇借用了1465年文艺复兴大师安东内洛·德·梅西纳(Antonello de Messina)创作的一幅名为《基督祝福》(Christ Blessing)的木面油画中的一个细节，这幅画把耶稣描绘成救世主——世界的救世主。这张脸投射在一个巨大的背景上，笼罩着下面正在展开的行动，它平静地凝视着外面，发光而巨大，邀请——或者可能是挑战——所有看到它的人去思考它那不可思议的敬意。
{"title":"The Postsecular Theatre of Romeo Castellucci","authors":"Dana Tanner-Kennedy","doi":"10.1162/pajj_a_00668","DOIUrl":"https://doi.org/10.1162/pajj_a_00668","url":null,"abstract":"In the beginning was the face. In Romeo Castellucci’s 2011 theatre piece On the Concept of the Face, Regarding the Son of God, the titular face was the inescapable, disconcerting, beatific visage of Jesus that dominated the mise-en-scène, gazing out across the audience as it gazed back. Castellucci borrowed the face from a detail of the 1465 oil on wood image known as Christ Blessing painted by Renaissance master Antonello de Messina, which depicts Jesus as Salvator Mundi—the savior of the world. Projected across a vast backdrop that loomed over the action unfolding beneath it, the face stared placidly outwards, luminescent and enormous, inviting—or perhaps challenging— all who viewed it to contemplate its inscrutable regard.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"117 1","pages":"105-117"},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80468351","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Over the course of the centuries, and increasingly since early modern times, Western culture has activated strategies aimed at obscuring death as a concrete and recognizable event and placing its representation within imaginaries that move towards a collective repression. Thus, death and forms of mourning have been transformed along the same lines as the change between “body” and “corpse,” casting a shadow over the experience of loss in public life. On the contrary, in contemporary necropolitics, the instrumental use of human existence (and of its end) is exhibited as a political-symbolic legitimization of how particular groups and subjects are exposed to the risk of death, accepted as a socially acceptable eventuality (as in the care of migrants).1 Within the context of this paradoxical imbalance, in Judith Butler’s studies on contemporary forms of mourning, the urgency of reconnecting grief is considered within the community. This not only leads to a need to redefine the concept of what is “human,” based on an awareness of our shared vulnerability and the precariousness of our lives, but also to reclaim collective mourning as an exercise of social justice and an ethical responsibility that must be shared.2
{"title":"Beyond the Species and Beyond Death: Staging Mozart’s Requiem","authors":"Romeo Castellucci, Piersandra Di Matteo","doi":"10.1162/pajj_a_00667","DOIUrl":"https://doi.org/10.1162/pajj_a_00667","url":null,"abstract":"Over the course of the centuries, and increasingly since early modern times, Western culture has activated strategies aimed at obscuring death as a concrete and recognizable event and placing its representation within imaginaries that move towards a collective repression. Thus, death and forms of mourning have been transformed along the same lines as the change between “body” and “corpse,” casting a shadow over the experience of loss in public life. On the contrary, in contemporary necropolitics, the instrumental use of human existence (and of its end) is exhibited as a political-symbolic legitimization of how particular groups and subjects are exposed to the risk of death, accepted as a socially acceptable eventuality (as in the care of migrants).1 Within the context of this paradoxical imbalance, in Judith Butler’s studies on contemporary forms of mourning, the urgency of reconnecting grief is considered within the community. This not only leads to a need to redefine the concept of what is “human,” based on an awareness of our shared vulnerability and the precariousness of our lives, but also to reclaim collective mourning as an exercise of social justice and an ethical responsibility that must be shared.2","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"12 1","pages":"96-104"},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86662383","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Shape of Light: Meditations on Hong Kong","authors":"J. Mansbridge","doi":"10.1162/pajj_a_00659","DOIUrl":"https://doi.org/10.1162/pajj_a_00659","url":null,"abstract":"","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"21 1","pages":"34-40"},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74450093","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
There is no gospel without its proclamation. Not merely “good news” sealed and delivered, gospel is testimony enacted and performed. By extension, gospel music, an art form that originates in Black American churches and in the experience of the Great Migration in the early twentieth century, instantiates the biblical Gospels as a religious tradition that is at once oral and scriptive. Through its performance, gospel music embodies new conditions of biblical interpretation and belief for a modern American audience. If this music is, as Braxton D. Shelley has put it, a “means by which to make one’s way through the world,” then the sound of gospel—with its characteristically kinetic, participatory musical textures and its soaring, enveloping feel—offers a roadmap of spiritual and social transformation, encoding “an expansive genealogy of sacred expression” that draws upon nineteenth-century Christian revivals and Afro-diasporic religious practices.1 The shimmering afterglow of a gospel sensibility ripples through a range of contemporary theatrical performances, from Ntozake Shange’s 1976 choreopoem for colored girls who have considered suicide / when the rainbow is enuf to the Afrofuturist ritual stagecraft of Daniel Alexander Jones’s drag alter ego, Jomama Jones. Yet for all that gospel music has embraced high drama (in its dizzying vocality, its raw testimonials, its melodies that billow like the voluminous robes of a choir), drama has not always returned the embrace. Gospel has had a particularly uneasy relationship to contemporary experimental performance, in that the discontinuous, iconoclastic aesthetics of the latter seem inherently at odds with gospel’s soulful intensity.
没有宣讲就没有福音。福音不仅仅是封缄和传递的“好消息”，它是制定和执行的见证。推而广之，福音音乐是一种艺术形式，起源于美国黑人教堂和二十世纪早期的大迁徙，它将圣经福音书作为一种宗教传统的实例，既是口头的，也是圣经的。通过它的表演，福音音乐体现了现代美国听众对圣经解释和信仰的新情况。如果像布拉克斯顿·d·雪莱(Braxton D. Shelley)所说的那样，这种音乐是“一种让人穿越世界的方式”，那么福音的声音——以其特有的活力、参与性的音乐纹理和高耸入林的感觉——提供了一种精神和社会转型的路线图，编码了“一种广泛的神圣表达谱系”，借鉴了19世纪基督教复兴和非洲流散宗教实践福音感性的余辉荡漾在一系列当代戏剧表演中，从恩托扎克·尚格1976年为考虑自杀的有色女孩创作的编舞，到丹尼尔·亚历山大·琼斯(Daniel Alexander Jones)的变装自我乔玛·琼斯(Jomama Jones)的非洲未来主义仪式舞台艺术。然而，尽管福音音乐充满了戏剧性(令人眼花缭乱的唱腔、原始的赞美诗、像唱诗班的大袍子一样起伏的旋律)，但戏剧并不总是受到欢迎。《福音书》与当代实验表演有着一种特别不稳定的关系，因为后者的不连续、反传统的美学似乎与《福音书》的深情强度内在地不一致。
{"title":"Sounding the Gospel Play","authors":"Rebecca Kastleman","doi":"10.1162/pajj_a_00664","DOIUrl":"https://doi.org/10.1162/pajj_a_00664","url":null,"abstract":"There is no gospel without its proclamation. Not merely “good news” sealed and delivered, gospel is testimony enacted and performed. By extension, gospel music, an art form that originates in Black American churches and in the experience of the Great Migration in the early twentieth century, instantiates the biblical Gospels as a religious tradition that is at once oral and scriptive. Through its performance, gospel music embodies new conditions of biblical interpretation and belief for a modern American audience. If this music is, as Braxton D. Shelley has put it, a “means by which to make one’s way through the world,” then the sound of gospel—with its characteristically kinetic, participatory musical textures and its soaring, enveloping feel—offers a roadmap of spiritual and social transformation, encoding “an expansive genealogy of sacred expression” that draws upon nineteenth-century Christian revivals and Afro-diasporic religious practices.1 The shimmering afterglow of a gospel sensibility ripples through a range of contemporary theatrical performances, from Ntozake Shange’s 1976 choreopoem for colored girls who have considered suicide / when the rainbow is enuf to the Afrofuturist ritual stagecraft of Daniel Alexander Jones’s drag alter ego, Jomama Jones. Yet for all that gospel music has embraced high drama (in its dizzying vocality, its raw testimonials, its melodies that billow like the voluminous robes of a choir), drama has not always returned the embrace. Gospel has had a particularly uneasy relationship to contemporary experimental performance, in that the discontinuous, iconoclastic aesthetics of the latter seem inherently at odds with gospel’s soulful intensity.","PeriodicalId":42437,"journal":{"name":"PAJ-A JOURNAL OF PERFORMANCE AND ART","volume":"27 1","pages":"70-81"},"PeriodicalIF":0.3,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77950719","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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