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Editorial Comment: More Life 社论评论:更多生活
IF 0.5 3区 艺术学 0 THEATER Pub Date : 2024-07-23 DOI: 10.1353/tj.2024.a932163
Laura Edmondson
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span><p> <ul> <li><!-- html_title --> Editorial Comment: <span>More Life</span> <!-- /html_title --></li> <li> Laura Edmondson </li> </ul> <p>I write this comment in the midst of rage. Earlier this month, on May 1, students at my home institution of Dartmouth College erected five tents in the college’s central green space as part of a pro-Palestine protest. In the context of widespread police action on US campuses, Dartmouth’s administration “stood out for its almost instantaneous response to a nonviolent protest,” to quote the <em>New York Times</em>.<sup>1</sup> Just over two hours after the tents went up, the administration called the local police, which promptly brought in the state’s Special Events Response Team outfitted with riot gear, long guns, and batons. Injuries and mass arrests predictably ensued in which Black, Indigenous, Latine, Asian American and Pacific Islander, international, and queer and nonbinary students were disproportionately affected. Many <em>TJ</em> readers undoubtedly share my fury at the criminalization of dissent, the Palestine exception to free speech policy, and the police brutality that has become (with noteworthy exceptions) the knee-jerk administrative response across the country.</p> <p>My feelings of fury are admittedly at odds with this general issue of <em>Theatre Journal</em>, which does not explicitly address anger, activism, or police violence. Rather, the four articles offer poignant meditations on necromancy, revenants, ghostly presences, and diasporic yearning. In that vein, they expand upon the general issue I edited last year, which yielded the theme of archives and afterlives. In my editorial comment for that issue, I wrote that “these scholars imaginatively and rigorously enfold land, ocean, and bodies as capacious archives,” and that the issue “offers the archive as an opening.”<sup>2</sup> Since general issues are more a matter of happenstance than curation, they take the pulse of the field. Significantly, these essays sustain the imagination and rigor of the previous issue through their nuanced explorations of archives and counterarchives. Once again, openings proliferate.</p> <p>Through their focus on absence and loss, these essays have much to teach my anger. They help me to remember that I write this comment not only in a historical moment of widespread protest but also in an era of mass death. They remind me that I should not use the righteousness of my rage as a distraction from the horrific loss of life in Gaza, not to mention Sudan. My anger should not deflect but instead should coexist with grief. It should also attend to the structural and geopolitical inequalities that make certain deaths more grievable than others. In that spirit, I invite all <em>TJ</em> readers to linger on the reflections on grief, loss, and absence contained herein. We have so much loss to bear; how do those losses generate new
以下是内容的简要摘录,以代替摘要: 社论评论:更多的生活 劳拉-埃德蒙森 我是在愤怒中写下这篇评论的。本月早些时候,也就是 5 月 1 日,我所在的达特茅斯学院的学生们在学院的中心绿地上搭建了五个帐篷,作为支持巴勒斯坦抗议活动的一部分。纽约时报》引用达特茅斯学院管理层的话说:"在美国校园警察行动泛滥的背景下,达特茅斯学院的管理层 "因其对非暴力抗议活动做出的几乎是即时的反应而引人注目 "1 。随后,黑人、土著人、拉丁人、亚裔美国人和太平洋岛民、国际学生、同性恋和非二元制学生都受到了严重影响。毫无疑问,许多 TJ 读者都和我一样,对全国各地将持不同政见者定罪、将巴勒斯坦作为言论自由政策的例外情况以及警察施暴(除值得注意的例外情况外)成为屈膝的行政反应感到愤怒。诚然,我的愤怒情绪与本期《戏剧杂志》并不一致,因为本期杂志并未明确讨论愤怒、激进主义或警察暴力问题。相反,这四篇文章对巫术、复仇者、鬼魂的存在和散居者的渴望进行了沉思。在此基础上,这四篇文章扩展了我去年编辑的以 "档案与余生 "为主题的通刊。我在该期的编辑评论中写道:"这些学者富有想象力并严谨地将土地、海洋和身体作为宽敞的档案馆,"该期 "将档案馆作为一个开口"。值得注意的是,这些文章通过对档案和反档案的细微探索,延续了上一期的想象力和严谨性。开放性再次大量涌现。通过对缺失和损失的关注,这些文章对我的愤怒有很大的启发。它们让我记住,我写这篇评论不仅是在一个广泛抗议的历史时刻,也是在一个大规模死亡的时代。它们提醒我,我不应该用愤怒的正义性来转移对加沙可怕的生命损失的注意力,更不用说苏丹了。我的愤怒不应转移视线,而应与悲伤共存。它还应关注结构性和地缘政治的不平等,这些不平等使某些死亡比其他死亡更令人悲痛。本着这种精神,我邀请所有 TJ 读者留心阅读本文中关于悲伤、损失和缺席的思考。我们有太多的损失需要承受;这些损失如何产生新的档案来追踪、理论化和居住?在本期中,韦斯特利-蒙哥马利(Westley Montgomery)与赛迪亚-哈特曼(Saidiya Hartman)一起写道,档案本身就是一个死亡的空间。但是,死亡并不意味着终结;相反,这四篇文章将 [尾页 xi] 死亡视为一个开口,历史学家、策展人、观众和戏剧艺术家试图通过它来把握无法把握的东西。在此过程中,他们阐述了新的哀悼方式。在开篇文章中,"缺席 "本身就是一种档案。蒙哥马利的 "Sissieretta Jones 的多种声音:歌剧与黑人录音档案的音声亡灵 "一文中,作者思考了被誉为第一位黑人歌剧演唱家的茜茜蕾塔-琼斯(Sissieretta Jones,1868-1933 年)虽然从未在歌剧舞台上演唱过,但却没有任何声乐录音的问题。蒙哥马利通过仔细追溯新闻报道,以及像蒂娜-坎普特那样 "聆听 "琼斯的四幅图像,挖掘出档案中的沉默,"不是为了制定一种恢复模式,也不是为了试图找到失落的主体性,而是为了确保声音在其中的组合"。这篇文章隐含着对所有历史学家的警告,他们不仅要寻找 "文本",还要 "寻找'声音'和'身体'"。蒙哥马利写道:"对琼斯录制的声音寄予超越逻辑的希望,是对稳定的黑色、可辨认的历史、统一的感知的希望。这是一种无论如何热切追求的愿望,却无法实现它所追求的复活"。蒙哥马利认为,要超越这种渴望,并在琼斯缺席的无声的多重声音中流连忘返......
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引用次数: 0
Cultures of Witnessing: Law and The York Plays by Emma Lipton (review) 见证文化:艾玛-利普顿的《法律与约克戏剧》(评论)
IF 0.5 3区 艺术学 0 THEATER Pub Date : 2024-07-23 DOI: 10.1353/tj.2024.a932185
Gillian Redfern
<span><span>In lieu of</span> an abstract, here is a brief excerpt of the content:</span><p> <span>Reviewed by:</span> <ul> <li><!-- html_title --> <em>Cultures of Witnessing: Law and The York Plays</em> by Emma Lipton <!-- /html_title --></li> <li> Gillian Redfern </li> </ul> <em>CULTURES OF WITNESSING: LAW AND THE YORK PLAYS</em>. By Emma Lipton. The Middle Ages Series. Philadelphia: University of Pennsylvania Press, 2022; pp. 200. <p>Written in lively, engaging prose that is equally authoritative and accessible, the central argument of Emma Lipton’s most recent monograph, <em>Cultures of Witnessing: Law and the York Plays</em>, is that the York plays use legal concepts of witnessing to promote ideals of citizenship in medieval York. Seeking to move scholarship on law and medieval drama beyond the accepted notion that the depiction of law in religious dramas generally reflects the corruption of earthly courts, Lipton persuasively theorizes that the plays also depict “virtuous witnesses, using them and other legalisms to promote local civic values and authority” (5). Thus, concepts of witnessing, and what or who makes a “good” witness, are uniquely interwoven with the York plays’ religious themes to bolster York’s sense of importance and promote local jurisdictional and legal powers, rather than monarchical, central ones. Lipton argues that this helped to articulate model citizenship in particularly local ways. Situating readings of selected dramas alongside legal treatises, sermons, confessional manuals, mirrors for princes, lyrics, conduct books, and all manner of textual forms of witness, Lipton explores how such texts and civic dramas informed and affected each other in site-specific ways in medieval York.</p> <p>For example, in the first chapter, “Space and the Cultures of Witnessing in the York ‘Entry into Jerusalem,’” Lipton claims that the legal charters in the <em>York Memorandum Books</em>, kept in the guildhall, demonstrate York’s concerted effort to preserve local jurisdiction over central power. Lipton sees this echoed in the <em>Entry into Jerusalem</em>, as Christ’s presence in the city, alluded to by deictic references, sets the audience as “His” witnesses and puts “the neighbor and citizen—rather than king, cleric, or lawyer—at the center of legal practice” (44). However, as Lipton rightly remarks at the very end of this chapter, there were many groups of citizens (such as women, the poor, et al.) who were excluded by law from giving legal witness. Thus, where Lipton concedes that, in practice, such legal witnessing would only have been available to a “subset” of York’s citizens, perhaps that subset would be more recognizably described as the wealthy male elite of medieval York (45).</p> <p>Given Lipton’s focus on the law and witnessing, it is perhaps unsurprising to see two chapters devoted to scrutiny of York’s sequence of trial plays (<em>The Conspiracy</em>, <em>The Trial Before Caiaphas and Annas</em>, <em>Christ before Pi
以下是内容的简要摘录,以代替摘要:评论者: 见证文化:艾玛-利普顿著,吉莉安-雷德芬译:《见证文化:法律与约克戏剧》:法律与约克戏剧》。作者:艾玛-利普顿。中世纪丛书。费城:费城:宾夕法尼亚大学出版社,2022 年;第 200 页。艾玛-利普顿(Emma Lipton)的最新专著《见证文化》(Cultures of Witnessing:法律与约克戏剧》的中心论点是,约克戏剧利用见证的法律概念来促进中世纪约克的公民理想。利普顿试图使法律与中世纪戏剧的学术研究超越宗教戏剧中的法律描写通常反映世俗法庭腐败的公认观念,她提出了具有说服力的理论,即这些戏剧也描写了 "良善的证人,利用他们和其他法律主义来促进当地的公民价值观和权威"(5)。因此,"见证 "的概念,以及什么或谁是 "好 "见证人,与约克戏剧的宗教主题独特地交织在一起,增强了约克的重要性,促进了地方司法和法律权力,而不是君主制的中央权力。利普顿认为,这有助于以特别地方化的方式阐明模范公民权。利普顿将所选戏剧与法律论文、布道、忏悔手册、王子的镜子、歌词、行为手册以及各种见证形式的文本放在一起进行解读,探讨了这些文本和公民戏剧如何在中世纪约克的特定地点相互启发和影响。例如,在第一章 "约克'进入耶路撒冷'中的空间和见证文化 "中,利普顿声称,保存在市政厅的约克备忘录中的法律章程表明,约克一致努力维护地方对中央权力的管辖权。利普顿认为这一点在《进入耶路撒冷》中也得到了回应,因为基督在城中的出现,通过神谕的暗示,将听众设定为 "他的 "见证人,并将 "邻居和公民--而不是国王、教士或律师--置于法律实践的中心"(44)。然而,正如利普顿在本章结尾处正确指出的,有许多公民群体(如妇女、穷人等)被法律排除在法律证人之外。因此,利普顿承认,在实践中,只有约克的 "一部分 "公民可以提供这种法律见证,而这部分公民也许更应该被描述为中世纪约克的富有男性精英(45)。鉴于利普顿对法律和见证的关注,我们看到有两章专门研究约克的一系列审判剧(《阴谋》、《该亚法和亚那的审判》、《基督在彼拉多面前1》、《希律王的审判》和《基督在彼拉多面前2:审判》)也许并不奇怪。第 2 章 "作为言语的见证 "以现有的学术研究为基础,讨论了这些戏剧中涉及的许多法律术语和程序,将它们视为 "体现言语行为的记录"(71),其中说话(或指控,或不愿说话)的行为基本上构成了戏剧的行动。利普顿认为,构成中世纪约克观众的所有个体(偶然路过的人、耳边听到的人、实际观看戏剧的人)都见证了这些言语行为,它们在多种意义上都具有表演性。他们充当了约克公民(或戏剧演出期间的民众)的道德指南,让他们学会如何控制自己的言论。通过结合法律权威、宗教权威和戏剧惯例,观众进一步参与见证和裁决基督等典型人物与彼拉多或希律王等暴君之间的关系。利普顿在这里借助行为文学以及王镜体裁中的治理、智慧和建议原则,强调了中世纪晚期见证的情感体验。利普顿通过出色的细读,论证了这些戏剧中的见证既是一种体验,也是一种实践,它促进了对自己和他人言论的道德自我管理。第三章 "约克审判剧中的见证与法律效力 "建立在前一章的基础之上,但其独特之处在于探讨了虚假见证的概念,这可能会导致虚假正义或误判。利普顿的论点得到了《约克审判剧》的支持。
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引用次数: 0
Natasha, Pierre & the Great Comet of 1812 by Dave Malloy (review) 娜塔莎、皮埃尔与 1812 年大彗星》,作者 Dave Malloy(评论)
IF 0.5 3区 艺术学 0 THEATER Pub Date : 2024-07-23 DOI: 10.1353/tj.2024.a932170
Adam Day Howard
In lieu of an abstract, here is a brief excerpt of the content:

Reviewed by:

  • Natasha, Pierre & the Great Comet of 1812 by Dave Malloy
  • Adam Day Howard
NATASHA, PIERRE & THE GREAT COMET OF 1812. Book, music, and lyrics by Dave Malloy. Directed by Victoria Bussert. Great Lakes Theater, Cleveland. September 24, 2023.

The Great Lakes Theater needs no introduction. It has been at the forefront of the regional theatre movement since the 1960s, with luminaries like Arthur Lithgow at the helm. Its impact both regionally and nationally makes it an ideal choice to stage a new production of Natasha, Pierre & The Great Comet of 1812. Writer-composer Dave Malloy is a Cleveland native, and his strong connection to the artistic community of Cleveland and its suburb Lakewood runs parallel to the Great Lakes Theater’s.

As the afternoon began, the stage was set for a blurring of lines between company and audience; the curtain was raised before the house was even open. The Hanna Theatre already boasts bar and lounge-style seating, perfect for a musical that takes place in a Russian club. Onstage bar seating was available for a few lucky ticket holders, and the seats nearest the stage had been reimagined as art-deco bar seating so that audience members could place their elbows on the stage itself. The vibe created by the set continued for the entire evening, drawing us into a sense of being somewhere we shouldn’t go—but as long we were there, we might as well enjoy ourselves.

The dark red tones of the set bled into the theatre as backlit shelves full of liquor bottles hinted at the boozy haze that the characters would inhabit. For its 2016-17 Broadway run at the Imperial Theatre, the set design for Great Comet was positively Seussian in its deconstruction of the theatre space. Regional theatre may not have the freedom or the means to take sets quite that far, but the Great Lakes Theater still masterfully blurred the liminal spaces between stage and house, company and audience.

Bussert’s cast and a live (though hidden) orchestra conveyed an immediacy that sat within the script’s nineteenth-century setting. The ensemble transmitted a strong contemporary energy that defied gender binaries while evoking the panache and energy of a bygone era of tsarist grandeur. Their performances teasingly cajoled us into audience participation, clapping along and becoming part of the club scene that animated the entire performance.


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Alex Syiek (Pierre Bezukhov) and the ensemble of Natasha, Pierre & The Great Comet of 1812. (Photo courtesy of Great Lakes Theater.)

From the beginning, the ensemble made a strong case for the continued relevance of the material. Then, as now, a war was on. Still, ordinary people, while

以下是内容的简要摘录,以代替摘要:评论者 娜塔莎、皮埃尔与 1812 年的大彗星》(Natasha, Pierre & the Great Comet of 1812),戴夫-马洛伊(Dave Malloy)著,亚当-戴-霍华德(Adam Day Howard)译 NATASHA, PIERRE & THE GREAT COMET OF 1812.由 Dave Malloy 编写剧本、音乐和歌词。导演:维多利亚-布瑟特克利夫兰大湖剧院。2023 年 9 月 24 日大湖剧院无需多言。自 20 世纪 60 年代以来,它一直处于地区剧院运动的前沿,由亚瑟-利斯高(Arthur Lithgow)等名人掌舵。它在地区和全国的影响力使其成为上演新剧《娜塔莎、皮埃尔与amp; 1812 年的大彗星》的理想选择。编剧兼作曲家戴夫-马洛伊(Dave Malloy)是土生土长的克利夫兰人,他与克利夫兰及其郊区莱克伍德(Lakewood)的艺术界有着紧密的联系,这一点与大湖剧院不谋而合。下午的演出一开始,剧团和观众之间的界限就变得模糊起来;还未开场,大幕就已经拉开。汉娜剧院已经拥有了酒吧和休息室式的座位,非常适合上演发生在俄罗斯俱乐部的音乐剧。几位幸运的持票人可以坐在舞台上的吧台座位上,离舞台最近的座位也被重新设计成装饰艺术风格的吧台座位,这样观众就可以将手肘放在舞台上。布景营造出的氛围持续了整晚,让我们有一种身处不该去的地方的感觉--但只要我们在那里,就不妨尽情享受。暗红色调的布景融入剧场中,背光的架子上摆满了酒瓶,暗示着剧中人物所处的酒气熏天的氛围。2016-17 年在帝国剧院上演的百老汇剧目《大彗星》的布景设计对剧场空间进行了积极的苏俄式解构。地区剧院可能没有自由或手段将布景做到如此地步,但大湖剧院仍然巧妙地模糊了舞台与剧场、剧团与观众之间的边缘空间。布瑟特的演员和现场(虽然隐蔽)管弦乐队在剧本的十九世纪背景中传达了一种直接性。剧团传递出强烈的现代活力,打破了性别二元对立,同时唤起了逝去的沙皇时代的激情与活力。他们的表演充满挑逗性,引诱我们观众参与其中,一起鼓掌,成为活跃整个演出的俱乐部场景的一部分。 点击查看大图 查看完整分辨率 亚历克斯-西耶克(Pierre Bezukhov)和《娜塔莎》、《皮埃尔与amp》、《1812 年的大彗星》剧组。(照片由大湖剧院提供)从一开始,剧团就有力地证明了这一素材的现实意义。当时和现在一样,战争正在进行。然而,普通人虽然知道战争的存在,也大多敬佩那些参战者,但却被自己的生活所困扰,无暇顾及战争。皮埃尔-别祖霍夫(阿列克斯-西耶克饰)就是这种沉闷情绪的代表人物。皮埃尔的贵族抑郁症使他成为二十一世纪观众心目中可亲可近的反英雄 [End Page 225]。他与实际参战的安德烈王子的关系,为美国社会提供了一面清醒的镜子;我们的军队也在隐约的 "国外 "进行着永恒的战斗,而我们却在国内自我陶醉,对细节一无所知,却义无反顾地支持军队。皮埃尔对意义和自尊的迫切渴望与他的婚姻相悖,在婚姻中他是一个空洞的唯唯诺诺的人,这进一步加剧了他的智力生活与情感生活之间的紧张关系。布瑟特通过炫目的灯光,为我们带来了来自前线的紧张刺激的电影级新闻瞬间,并通过巧妙地上演性紧张,让观众对完全应受谴责的人物产生了同情。她在时代细节和当代关切之间取得了平衡,包括夜总会的尴尬、危险的关系以及违反社会习俗的危险。剧中人物都在电车轨道上,而我们观众却无从下手。看着娜塔莎(杰西-柯特利 Jessi Kirtley 饰)在她天真无邪的社会礁石上坠落,整个剧组毫不费力的波希米亚风情让人感到非常不舒服。
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引用次数: 0
Monumental Cares: Sites of History and Contemporary Art by Mechtild Widrich (review) 纪念碑的关怀:历史遗址与当代艺术》,Mechtild Widrich 著(评论)
IF 0.5 3区 艺术学 0 THEATER Pub Date : 2024-07-23 DOI: 10.1353/tj.2024.a932190
Rebecca Jackson
In lieu of an abstract, here is a brief excerpt of the content:

Reviewed by:

  • Monumental Cares: Sites of History and Contemporary Art by Mechtild Widrich
  • Rebecca Jackson
MONUMENTAL CARES: SITES OF HISTORY AND CONTEMPORARY ART. By Mechtild Widrich. Rethinking Art’s Histories Series. Manchester: Manchester University Press, 2023; pp. 228.

Mechtild Widrich, professor of art history, theory, and criticism at the School of the Art Institute of Chicago, demonstrates in her scholarship the major overlap between performance studies and art history. Her first book, Performative Monuments (2014), expands traditional conceptions of monuments, theorizing that they work as speech-acts engendering community building, especially following historical atrocities. Her second book, Monumental Cares, is an appraisal of the materialization of public history through and by a multidirectional (as opposed to site-specific) approach that addresses how “real and digital sites overlap and connect in subtle, capillary ways” (34). Widrich’s conceptualization of art geographies (how the physical environment, culture, history, and social dynamics of a place influence the creation, interpretation, and representation of performance art) coupled with her discussion about transparency and opacity (via screens and mirrors) demonstrate how bodies (engaged in performance art) activate cultural memory as well as acts of commemoration and activism in twenty-first-century performance artworks. She is especially concerned with how we express public care and how we care about our monuments. Wid-rich’s work resides in the multidisciplinary realm of public history, performance, and contemporary art, and thus, she often infers co-performance without using that specific term. Instead, Widrich uses words like “co-produce” and “co-presence” to describe something that a performance scholar would label as “co-performance”—especially in alignment with Dwight Conquergood and D. Soyini Madison’s pioneering work on co-performance and critical ethnography. [End Page 261]

Monumental Cares contends that sites of contemporary art are also performances of history, activism, and commemoration and that these performances, as well as their documentation and ephemera, are the materials of history—the materialization of public memory and social justice. In crafting her thesis, Widrich engages with social justice activism, political art, performance studies, architectural studies, public history, and memory work under the umbrella of art history, theory and criticism. A brief introduction and a conclusion bookend six chapters that alternate between Widrich’s theories and her case-study analyses. The odd-numbered chapters, then, are quite dense with Widrich’s conceptions for how history materializes in public performance/contempo

以下是内容的简要摘录,以代替摘要:评论者: 纪念碑的关怀:历史遗址与当代艺术》(Mechtild Widrich Rebecca Jackson 著):历史遗址与当代艺术》。作者:Mechtild Widrich。重新思考艺术的历史系列。曼彻斯特:曼彻斯特大学出版社,2023 年;第 228 页。Mechtild Widrich 是芝加哥艺术学院的艺术史、理论和评论教授,她的学术研究证明了表演研究与艺术史之间的重大重叠。她的第一本书《表演性纪念碑》(Performative Monuments,2014 年)扩展了传统的纪念碑概念,从理论上指出,纪念碑作为言语行为,能够促进社区建设,尤其是在历史暴行之后。她的第二部著作《纪念碑关怀》(Monumental Cares)通过多向(而非针对特定地点)的方法,对公共历史的物质化进行了评估,探讨了 "现实和数字网站如何以微妙的毛细方式重叠和连接"(34)。维德里奇对艺术地理(一个地方的物理环境、文化、历史和社会动态如何影响行为艺术的创作、阐释和表现)的概念化,以及她对透明度和不透明性(通过屏幕和镜子)的讨论,展示了身体(参与行为艺术)如何激活文化记忆,以及 21 世纪行为艺术作品中的纪念和行动主义行为。她尤其关注我们如何表达公众关怀以及我们如何关心我们的纪念碑。维德里奇的作品涉及公共历史、表演和当代艺术等多学科领域,因此,她经常在不使用特定术语的情况下暗示共同表演。相反,维德里奇使用 "共同制作 "和 "共同存在 "等词来描述表演学者会标注为 "共同表演 "的事物--尤其是与德怀特-康克古德和 D. 索伊尼-麦迪逊在共同表演和批判性民族志方面的开创性工作相一致。[纪念碑关怀 "认为,当代艺术的现场也是历史、行动主义和纪念活动的表演,这些表演以及它们的记录和短暂的历史,都是历史的材料--公共记忆和社会正义的物质化。在撰写论文的过程中,维德里奇在艺术史、理论和批评的框架下,参与了社会正义行动主义、政治艺术、表演研究、建筑研究、公共历史和记忆工作。在维德里奇的理论和她的案例研究分析之间交替进行的六章中,以简短的引言和结论作为结尾。因此,奇数章节中,维德里奇关于历史如何在公共表演/当代艺术中具体化的构想相当密集,而偶数章节中,她对精心挑选的案例进行的理论分析则更容易消化。维德里奇在第一章开篇就指出,纪念活动应仔细考虑 "近期许多公共艺术复杂的现场导向性"(55)。她在开篇就指出,场地的特殊性是相关性的,因此应该从多方位的角度来看待和理解。关系-场地-特殊性成为一种表现身份的方法。纪念活动依靠体现行为和物质文化来强化历史叙事或在当下复活的过去记忆。我们通过纪念活动体现公共记忆,有助于塑造我们当下的文化身份。维德里奇运用多向性理论,探讨了如何通过中介重新审视纪念活动,并通过扩大对遗址话语的考量来诠释纪念活动。此外,她敦促读者思考人们是如何来到遗址的,无论是实体还是中介,她将这一过程描述为 "穿梭于实体和数字公共领域之间"(33-34)。维德里奇写道,"倾向于这种分层的方向性,""将使我们理解物理和虚拟网站如何在我们的时间和空间概念中纠缠在一起,在地面、网络、接受和学术中将历史具体化"(44)。她关注的是身体如何来到现场,以及与这些现场的共同表演如何使公共历史具体化。公共历史实践,如博物馆策划、纪念碑建造(和参观)、电影和电视节目中的表现形式以及纪念活动,创造并维持了历史的主流叙事,同时也巩固了当下对过去的文化记忆。采用多向性的方法迫使我们研究人们如何来到一个遗址,如何 "努力应对包容与排斥、限制与机会、身体表征及其物质替代品",这样我们就可以收集......
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引用次数: 0
Theatre and Translation, Again 戏剧与翻译,再一次
IF 0.5 3区 艺术学 0 THEATER Pub Date : 2024-07-23 DOI: 10.1353/tj.2024.a932162
Avishek Ganguly
In lieu of an abstract, here is a brief excerpt of the content:

  • Theatre and Translation, Again
  • Avishek Ganguly

In 2007, Jean Graham-Jones coordinated a special issue of Theatre Journal dedicated to the topic of translation vis-à-vis theatre and performance. To my knowledge, it still remains the only occasion when a substantial discussion of that topic has taken place in the pages of the journal, including the recently published seventy-fifth anniversary issue. This brief essay is an effort to revisit that earlier, groundbreaking issue in the spirit of how Laura Edmondson ends her extensive editorial comment for the recent anniversary issue: as a coarticulation of “critique with desire,” a wish list for what might appear in the journal over the next seventy-five years.1

Graham-Jones has long been interested in theatre and translation, but the explicit point of departure in her editorial vision for that special issue of Theatre Journal was the contemporaneous developments in the fields of translation theory and practice. In what follows, I attempt to offer not just a review but also a reading, necessarily telegraphic, of what Graham-Jones variously calls “the complexity” intrinsic to “theatrical translation practices,” or “translation in performance,” to suggest that in any attempt to think “theatrical translation in performance,” the underlying, not always productive, disciplinary tension between the fields of theatre studies and performance studies might necessarily come undone.2

The translational turn in comparative literature and cultural studies and the cultural turn in translation studies in Anglo-US academia in the 1990s were marked by an extra- ordinary flourishing of theoretically inflected writing on the practice of translation that continued well into the next decade. Consider the following examples: Gayatri Chakravorty Spivak’s now classic essay “The Politics of Translation” was published in 1992, as was Tejaswini Niranjana’s field-shaping book Siting Translation: History, Post-Structuralism, and the Colonial Context; Lawrence Venuti’s The Translator’s Invisibility was published soon after, in 1995, followed by Naoki Sakai’s influential Translation and Subjectivity in 1997. Among the most prominent books on the topic to appear in the following decade were Susan Bassnett’s widely read introduction to the field, Translation Studies (2002), Emily Apter’s The Translation Zone: A New Comparative Literature (2006), and Sandra Bermann and Michael Wood’s coedited volume Nation, Language, and the Ethics of Translation (2006).3 These attempts at theorizing translation would often but [End Page E-11] not always appear under the sign of poststructuralism and deconstruction, a pattern that can perhaps be traced a

以下是内容的简要摘录,以代替摘要: 戏剧与翻译,再论阿维斯谢克-甘古利 2007 年,让-格雷厄姆-琼斯(Jean Graham-Jones)策划了一期《戏剧杂志》特刊,专门讨论戏剧与表演的翻译问题。据我所知,包括最近出版的七十五周年纪念特刊在内,这仍然是该杂志唯一一次对这一主题进行实质性讨论。1 格雷厄姆-琼斯长期以来一直对戏剧和翻译感兴趣,但她对《戏剧杂志》特刊的编辑愿景的明确出发点是翻译理论和实践领域的同步发展。在下文中,我试图对格雷厄姆-琼斯所谓的 "戏剧翻译实践 "或 "表演中的翻译 "所固有的 "复杂性 "进行解读,不仅是一篇评论,也是一种必然的电报式解读,以表明在对 "表演中的戏剧翻译 "进行思考的任何尝试中,戏剧研究领域与表演研究领域之间潜在的、并非总是富有成效的学科紧张关系可能必然会被打破2。2 20 世纪 90 年代,英美学术界比较文学和文化研究的翻译转向以及翻译研究的文化转向的特点是,有关翻译实践的理论著作异常繁荣,一直持续到下一个十年。请看以下例子:加亚特里-查克拉沃蒂-斯皮瓦克(Gayatri Chakravorty Spivak)的经典文章《翻译的政治学》于 1992 年出版,特贾斯维尼-尼兰贾纳(Tejaswini Niranjana)的著作《定位翻译》(Siting Translation)也对翻译领域产生了深远影响:历史、后结构主义和殖民语境》;劳伦斯-维努蒂(Lawrence Venuti)的《译者的隐形》(The Translator's Invisibility)很快于 1995 年出版,酒井直树(Naoki Sakai)颇具影响力的《翻译与主体性》(Translation and Subjectivity)也于 1997 年出版。在随后的十年中,有关该主题的最著名书籍包括苏珊-巴斯内特(Susan Bassnett)广受读者欢迎的该领域导论《翻译研究》(2002 年)、艾米丽-阿普特(Emily Apter)的《翻译地带》(The Translation Zone:3 这些将翻译理论化的尝试通常但 [第 E-11 页完] 并非总是在后结构主义和解构主义的标志下出现,这种模式或许可以追溯到几年前雅克-德里达关于这一主题的最重要论文《巴别塔之旅》(1985 年)的英译本出版。4 就在这种围绕翻译的跨学科对话蓬勃发展之时,戏剧与表演研究领域却对直接、实质性地参与其中犹豫不决,令人感到奇怪。大多数关于戏剧和翻译的讨论要么集中在将剧本从一种语言翻译成另一种语言出版的字面行为上,要么集中在 "从书页到舞台 "这一谚语式的转换上,这是对剧本表演行为的一种隐喻。然而,这一趋势有一个例外,那就是关于戏剧改编及其与翻译之间可能关系的持续对话,偶尔会转向探索这些实践背后的一些哲学假设。与此相反,主要从事比较文学或翻译研究的学者,如上文提到的学者,大多专注于散文小说,将其作为思考翻译动态的典范文化形式。他们主要分析小说,偶尔也分析短篇小说,或较少分析非小说或学术论文,对戏剧或诗歌等其他文学形式关注不够。正是在这种情况下,2007 年《戏剧杂志》的 "戏剧与翻译 "特刊进行了干预。5 在为合作文集(无论是书籍还是杂志特刊)奠定基础的过程中,编辑导言通常至少可以扮演两种角色:它可以扫描组成文集的文章,寻找该领域的趋势,并对其进行总结,从而在事后强调该文集的贡献;或者它可以划分一个学术领域,提前设定一个知识议程......
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引用次数: 0
A Visceral and Temporal Remix: Performing Reza Abdoh's Archives 内涵与时间的混音:表演 Reza Abdoh 的档案
IF 0.5 3区 艺术学 0 THEATER Pub Date : 2024-07-23 DOI: 10.1353/tj.2024.a932168
Nazli Akhtari

Abstract:

This essay takes as its central concern the historical transmission of Reza Abdoh’s performance works via their circulation in the artist’s retrospective exhibit at the KW Institute for Contemporary Art in 2019. I analyze two interlaced defining features in the KW exhibition—archival remixing and viscerality—that the curators used to honor Abdoh’s artistic legacy. Focusing on the exhibit as a medium of performance historiography in diaspora, this essay argues that the multimedia installation of Abdoh’s archival work in the exhibition format utilized performance archives to create a haptic and visceral site of historiography and memory.

摘要:这篇文章主要关注雷扎-阿卜杜(Reza Abdoh)的行为作品在2019年KW当代艺术学院(KW Institute for Contemporary Art)举办的艺术家回顾展中的流传情况。我分析了KW展览中两个相互交织的决定性特征--档案混音和视觉性--策展人利用这两个特征来纪念阿卜杜的艺术遗产。这篇文章将重点放在作为散居地表演史学媒介的展览上,认为在展览形式中安装阿卜杜档案作品的多媒体装置利用了表演档案,创造了一个历史学和记忆的触觉和直观场所。
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引用次数: 0
The Taylor Mac Book: Ritual, Realness and Radical Performance ed by David Román and Sean F. Edgecomb (review) 泰勒-麦克图书:大卫-罗曼和肖恩-F-埃奇科姆编著的《仪式、真实和激进表演》(评论)
IF 0.5 3区 艺术学 0 THEATER Pub Date : 2024-07-23 DOI: 10.1353/tj.2024.a932188
Benjamin Gillespie
In lieu of an abstract, here is a brief excerpt of the content:

Reviewed by:

  • The Taylor Mac Book: Ritual, Realness and Radical Performance ed by David Román and Sean F. Edgecomb
  • Benjamin Gillespie
THE TAYLOR MAC BOOK: RITUAL, REALNESS AND RADICAL PERFORMANCE. Edited by David Román and Sean F. Edgecomb. Triangulations Series. Ann Arbor: University of Michigan Press, 2023; pp. 307.

Written and compiled during the height of the COVID-19 pandemic, The Taylor Mac Book is a celebration not only of the legacy and work of performance artist Taylor Mac but also of the magic and power of live performance as a form of communal ritual and queer kinship. This comprehensive collection surveys the life and career of one of New York’s most celebrated performing artists, offering a much-needed critical and contextual analysis of Mac’s work from the early 2000s to present day, especially their pathbreaking immersive marathon performance A 24-Decade History of Popular Music (added as a documentary to HBO’s streaming platform MAX in 2023). Expertly edited by David Román and Sean F. Edgecomb, two of the field’s leading scholars of queer performance, and published in the LGBTQ-focused Triangulations Series, the book positions itself as one that not only celebrates the dazzling career of a singular artist but also recognizes the collaborative nature of both queer [End Page 258] performance and scholarship, advancing theoretical conversations surrounding queer legacy, time, kinship and mentorship, intergenerational exchange, and the importance of a queer archive—themes that dovetail with the previous scholarly contributions of its distinguished editors.

While the volume’s structure mainly follows a chronological path through Mac’s life and career, the editors playfully encourage readers to forge their own queer path in our engagement with the book. While this is a welcome invitation (especially in the age of digital consumption), I urge readers to engage with the book in its entirety, in any order, to fully glean Mac’s theatrical legacy and influence on queer performance and scholarship more broadly. While the editors recognize that no single study could be fully comprehensive, they have ensured a multifocal study on Mac’s theatrical genius that features nearly two dozen diverse contributors, ranging from scholars, artist-collaborators, and Taylor Mac themself.

Mac is known for their genderfuck style of performing, actively deconstructing binary gender norms onstage while questioning society’s hetero-normative values. Mac’s chosen stage pronoun, “judy,” reflects their dragging of gender onstage, although the editors remind us that Mac is not trans-gender in daily life. In a 2019 interview quoted in the book’s introduction, Mac states, “my gender is performer because I feel like I

以下是内容的简要摘录,以代替摘要:评论者: 泰勒 Mac 书:仪式、真实与激进表演》,大卫-罗曼和肖恩-F-埃奇科姆编,本杰明-吉莱斯皮译:仪式、真实性与激进表演。由 David Román 和 Sean F. Edgecomb 编辑。Triangulations Series.安阿伯:密歇根大学出版社,2023 年;第 307 页。泰勒-麦克之书》是在 COVID-19 大流行期间撰写和编纂的,它不仅是对表演艺术家泰勒-麦克的遗产和作品的颂扬,也是对现场表演作为一种集体仪式和同性恋亲属关系的魔力和力量的颂扬。这本全面的作品集回顾了纽约最著名的表演艺术家之一的生活和职业生涯,对麦克从 2000 年代初至今的作品,尤其是他们开创性的沉浸式马拉松表演《流行音乐 24 年史》(2023 年作为纪录片加入 HBO 的流媒体平台 MAX)进行了亟需的评论和背景分析。由大卫-罗曼(David Román)和肖恩-F.本书由两位同性恋表演领域的顶尖学者 David Román 和 Sean F. Edgecomb 专业编辑,并在以 LGBTQ 为重点的 Triangulations 系列中出版、该书围绕同性恋遗产、时间、亲缘关系和师徒关系、代际交流以及同性恋档案的重要性等主题展开理论对话,这些主题与该书杰出编者之前的学术贡献不谋而合。虽然这本书的结构主要是按照时间顺序来梳理麦克的生活和职业生涯,但编辑们还是俏皮地鼓励读者在阅读这本书的过程中开辟自己的同性恋之路。虽然这是一个值得欢迎的邀请(尤其是在数字消费时代),但我建议读者以任何顺序阅读全书,以充分了解麦克的戏剧遗产以及他对同性恋表演和学术研究的广泛影响。虽然编辑们认识到没有一项研究能做到完全全面,但他们确保了对麦克戏剧天才的多角度研究,其中有近二十位不同的撰稿人,包括学者、艺术家合作者和泰勒-麦克本人。麦克以其 "性别混蛋"(genderfuck)的表演风格而闻名,他们在舞台上积极解构二元性别规范,同时质疑社会的异性恋规范价值观。麦克选择的舞台代名词 "judy "反映了他们在舞台上对性别的拖拽,不过编者提醒我们,麦克在日常生活中并不是变性人。在本书导言中引用的 2019 年的一次采访中,麦克说:"我的性别是表演者,因为我觉得我一直在表演我的性别"(xi)。编者在书的开头花时间仔细讨论了麦克的人称代词问题,表示他们并不干涉书中其他作者使用人称代词(正如麦克并不干涉自己的人称代词),但大多数撰稿人(包括编者)都使用中性代词 "他们 "来指代麦克的作品(正如我在这里所做的)。这一重要的认可承认了麦克的同性恋世界观,同时也提醒读者,麦克不是变性人,这是当今学术界的一个重要区别,因为变性人和非二元性别者的表演学术研究取得了显著而必要的发展。该书包括一个简短的导言,介绍了麦克表演的历史背景,随后的十几个章节探讨了麦克在过去二十五年中创作的不同方面。该书欣然接受并批判性地梳理了麦克的表演史,肯定了他们众多频繁的合作者,尤其是服装设计师机器炫、表演者跳跳虎弗格森、作曲家兼编曲家马特-雷和音乐家维瓦-德康西尼等。值得注意的是,书中收录了大量麦克各种作品的全彩制作照片,为读者呈现了这些作品鲜活的服装和舞台风采。罗曼和埃奇科姆在介绍麦克的作品时,突出了他们在舞台上的傻子形象,他们总是身着闪闪发光的服装,化着小丑般的妆容,举止野蛮,散发着变装和过度戏剧化的美妙气息。正如古典戏剧中的情节一样,傻子总是最能理解社会的局限性,并将这些局限性发挥到极致。
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引用次数: 0
Byggmeister Solness by Henrik Ibsen (review) 易卜生的《Byggmeister Solness》(评论)
IF 0.5 3区 艺术学 0 THEATER Pub Date : 2024-07-23 DOI: 10.1353/tj.2024.a932172
Andrew Friedman
In lieu of an abstract, here is a brief excerpt of the content:

Reviewed by:

  • Byggmeister Solness by Henrik Ibsen
  • Andrew Friedman
BYGGMEISTER SOLNESS. By Henrik Ibsen. Created by Vegard Vinge and Ida Müller, with music by Trond Reinholdtsen. Det Norske Teatret, Oslo. September 12 and 14, 2023.

The words “Byggmeister Angst” flashed in neon above the stage throughout Vegard Vinge and Ida Müller’s eight-and-a-half-hour performance of Henrik Ibsen’s Byggmeister Solness (The Master Builder, 1892). The production was the ninth installment of the duo’s Ibsen-Saga (2006-), a self-proclaimed six-hundred-year project to stage Ibsen’s œuvre as interconnected performances unified by a singular aesthetic. The two performances of Byggmeister Solness I attended uncharacteristically abandoned the Saga’s use of artistic ambition as a pretext to challenge institutional limits. Now on their second production of a five-year residency at Oslo’s Det Norske Teatret, Vinge and Müller officially reside in the resource-rich belly of the institutional beast. Emerging from Oslo’s free scene—and the relatively permissive environs of Berlin—the Saga’s oppositional aesthetics now share a season with a major theatre’s marquee production of the Disney musical Frost. Rather than stage a grand Ibsenian conflict, Vinge and Müller dramatized their angsty acquiescence to the institution hosting them by transforming The Master Builder into a musical about safety.


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Ragnar and the builders sing the opening overture in Byggmeister Solness. (Photo: Ole Herman Andersen.)

[End Page 228]


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Solness oversees his builders in Byggmeister Solness. (Photo: Ole Herman Andersen.)

The production retained the Saga’s hallmark aesthetics and associative dramaturgy. Directed by Vinge, designed by Müller, and composed by Trond Reinholdtsen (all of whom performed in the piece as well), the production combined cartoon-ish artificiality (hand-painted scenography and masked performers gesturing to prerecorded text and sound effects) and extreme reality (destruction, excreta, and stunts). Solness was an old vampiric god in a diaper; his gory crimes and the lives of his victims were presented in stage action and in live and prerecorded films. Solness drank the blood of his apprentice Ragnar Brovik and beat Old Brovik to a pulp, used his assistant Kaja as a canvas for his “artistic juice” (ejaculate), sexually abused the prepubescent Hilda Wangel in spectacles evoking coprophilia and suicide, and, with the help of Dr. Herdel, sedated his wife Aline, who mourned their deceased daughters. These brutalities were filtered t

以下是内容的简要摘录,以代替摘要:评论者: Byggmeister Solness,亨利克-易卜生著 Andrew Friedman BYGGMEISTER SOLNESS.作者:亨利克-易卜生。由 Vegard Vinge 和 Ida Müller 创作,Trond Reinholdtsen 配乐。挪威剧院,奥斯陆。2023 年 9 月 12 日和 14 日。在 Vegard Vinge 和 Ida Müller 长达八个半小时的演出中,舞台上方的霓虹灯一直闪烁着 "Byggmeister Angst "的字样,这正是易卜生的作品 Byggmeister Solness(《建筑大师》,1892 年)。该剧是二人的 "易卜生传奇"(Ibsen-Saga,2006-)的第九部,他们自称这是一个长达六百年的项目,旨在将易卜生的作品以一种独特的美学统一起来,作为相互关联的表演进行演出。我观看的两场《Byggmeister Solness》一反常态,放弃了《传奇》以艺术雄心为借口挑战体制限制的做法。在奥斯陆挪威剧院(Det Norske Teatret)为期五年的驻场演出中,文格和穆勒正在进行第二场演出。从奥斯陆的自由舞台和柏林相对宽松的环境中走出来,《传奇》的对立美学如今与迪斯尼音乐剧《冰霜》同属一个演出季。文格和穆勒并没有上演易卜生式的宏大冲突,而是将《建筑大师》改编成一部关于安全的音乐剧,以此来表现他们对所在机构的焦虑默许。 点击查看大图 查看完整分辨率 拉格纳和建筑工人们在 Byggmeister Solness 中演唱开场序曲。(照片:Ole Herman Andersen) [尾页 228] 点击放大 查看完整分辨率 Byggmeister Solness 中,Solness 监督他的建筑工人。(照片:Ole Herman Andersen)该剧保留了《传奇》的标志性美学和联想戏剧性。该剧由 Vinge 执导、Müller 设计、Trond Reinholdtsen 作曲(他们都参与了演出),将卡通式的人工效果(手绘场景、戴面具的演员对着预先录制的文字和音效做手势)和极端的现实效果(破坏、排泄物和特技)结合在一起。索尔尼斯是一个穿着尿布的老吸血鬼之神;他血淋淋的罪行和受害者的生活通过舞台动作、现场和预先录制的影片呈现出来。索尔内斯喝了他的学徒拉格纳-布罗维克(Ragnar Brovik)的血,并将老布罗维克打成肉酱;他把助手卡佳(Kaja)当作画布,涂抹他的 "艺术汁液"(射精);他性虐待青春期前的希尔达-旺格尔(Hilda Wangel),让人联想到恋童癖和自杀;他还在赫尔德尔博士(Dr. Herdel)的帮助下,让他的妻子阿琳娜(Aline)服用镇静剂,让她哀悼他们逝去的女儿。易卜生的文本与来自电影、行为艺术、戏剧和歌剧的互补叙事相互交织。失意的拉格纳扮演《出租车司机》(Taxi Driver,1976 年)中的特拉维斯-比克尔(Travis Bickle),阿琳扮演《网络》(Network,1976 年)中被蔑视的妻子路易丝-舒马赫(Louise Schumacher),索尔内斯扮演《华尔街》(Wall Street,1987 年)中冷酷无情的银行家戈登-盖科(Gordon Gekko),希尔达则扮演身着白裙、头戴皇冠的迪斯尼公主。文格使用麦克风,在舞台、包厢和观众席上实时指导每晚的独特表演,同时与观众和技术人员对话或提出批评。易卜生的作品一如既往地被提炼为一种支配《传奇》剧场极限测试的总体精神:艺术家在压迫社会中实现自我的愿望。拜格梅斯特-索尔内斯(Byggmeister Solness)考验的是文格和穆勒的制度能力。他们没有像易卜生式的意识形态主义者那样进行反叛,而是创作了一部标榜顺从的作品,通过显而易见的顺从来揭露各种限制。令人震惊的是,演出竟然在规定的时间开始和结束(这还是第一次!),因为在挪威,正如文格讽刺性地宣布的那样,"演员必须在晚上10:30之前上床睡觉"。最有影响力的是该剧的安全协议演示,它将《传奇》中典型的危险特技重塑为风险管理行为。演出中途,艾琳被点燃。但首先,我们看到表演者不慌不忙地在皮肤上涂抹阻燃凝胶,而消防员则用防火服包裹住她,准备好灭火器和灭火毯,然后在她身上擦拭助燃剂。一旦被点燃,阿琳就会在刺耳的尖叫声中挣扎,让我--也可能是其他人--短暂地忘却了程序性的前奏。然而,熄灭火焰后,表演者对着观众傻笑......
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引用次数: 0
National Arts Festival (review) 国家艺术节(回顾)
IF 0.5 3区 艺术学 0 THEATER Pub Date : 2024-07-23 DOI: 10.1353/tj.2024.a932175
April Sizemore-Barber
In lieu of an abstract, here is a brief excerpt of the content:

Reviewed by:

  • National Arts Festival
  • April Sizemore-Barber
NATIONAL ARTS FESTIVAL. Makhanda, South Africa. June 22-July 2, 2023.

For nearly half a century, South Africa’s National Arts Festival (NAF) has been the premier platform for the artistic state of the nation. Its most recent outing in 2023 marked a hearty post-pandemic rebound, with ticket sales doubling from the previous year’s initial tentative return to live performance. At the same time, COVID’s long interregnum also allowed the festival’s organizers to take stock and adjust the status quo, most notably by substantially curtailing the number of productions featured on the fringe program. This contraction marked a striking departure from the fringe’s previous centrality to the festival’s identity and branding as the second largest after Edinburgh’s. The decision was at its root pragmatic: plagued by years of nationwide rolling blackouts (also known as load-shedding) interrupting performances, the NAF would now limit all performances to venues with a backup generator. Nevertheless, this ethos of strategic contraction had a galvanizing effect on the eleven-day festival as a whole. In prioritizing smaller-scale, local stories and idioms over spectacle and size, the festival thrived with a tighter, more personal focus. Playing to its strengths of combining multiple forms and incubating new voices, 2023’s festival strikingly foregrounded work by Black feminist artists, often working in Indigenous languages.

A broader trend toward responsive, genre-bending, site-specific performance was apparent in the work of the winners of the prestigious Standard Bank Young Artist Awards. Given a platform at the festival to execute their visions, the winning artists—and their work—provided a model for how constricted performance aesthetics can often inspire spatial reimagination. As an illustrative example, three of the six artists honored—all Black women—staged performance installations at the hulking Settlers Monument complex, a location where generators could be depended on to keep the lights on. Lady Skollie, an Indigenous artist of Khoi descent, used the apartheid-era arts center built to memorialize British colonizers to interrogate the absence of her ancestors from the historical and artistic record. Transforming the bowels of the building into an exhibition of Indigenous rock art, which has largely been destroyed in South Africa, Groot Gat (Big Hole) re-created cave art in situ. The result—referencing capitalist extraction in the famed Big Hole Kimberly diamond mine while also celebrating women’s vaginas as a creative force— served as a South African iteration of the Great Hole of History (introduced in Suzan-Lori Parks’s The America Play). Rather than depicting the ar

以下是内容的简要摘录,以代替摘要:评论者: 国家艺术节 April Sizemore-Barber 国家艺术节。南非马坎达。2023 年 6 月 22 日至 7 月 2 日。近半个世纪以来,南非国家艺术节(NAF)一直是展示国家艺术状况的主要平台。最近于 2023 年举办的这届艺术节标志着大流行病后的酣畅反弹,门票销售比上一年最初试探性回归现场表演时翻了一番。与此同时,COVID 的漫长停滞期也让艺术节的组织者得以对现状进行总结和调整,其中最明显的就是大幅缩减了边缘项目的作品数量。这一缩减标志着边缘节目与以往作为仅次于爱丁堡艺术节的第二大艺术节的身份和品牌的中心地位大相径庭。这一决定从根本上讲是务实的:由于多年来全国范围内的滚动停电(也称为断电)导致演出中断,国家艺术节现在将所有演出都限制在有备用发电机的场所。尽管如此,这种战略收缩的精神对整个为期十一天的艺术节产生了激励作用。通过优先考虑规模较小的本地故事和成语,而不是场面和规模,艺术节在更加紧凑、更加个性化的关注下蓬勃发展。2023 年艺术节充分发挥了其结合多种形式和孵化新声音的优势,黑人女权主义艺术家的作品引人注目,这些作品通常使用土著语言创作。在著名的 "标准银行青年艺术家奖"(Standard Bank Young Artist Awards)获奖者的作品中,可以明显看出一种更广泛的趋势,即反应灵敏、体裁多样、特定场地的表演。在艺术节上,获奖艺术家及其作品被赋予了一个平台来实现他们的愿景,为受限的表演美学如何经常激发空间再想象提供了一个范例。举例来说,六位获奖艺术家中有三位都是黑人女性,她们在庞大的定居者纪念碑建筑群中举办了表演装置艺术活动,而这个建筑群的照明全靠发电机。科伊族原住民艺术家斯科利女士(Lady Skollie)利用种族隔离时期为纪念英国殖民者而建造的艺术中心,对其祖先在历史和艺术记录中的缺失进行了拷问。Groot Gat(大洞)将建筑内部改造成土著岩石艺术展,在原地重现了洞穴艺术。其结果是,在著名的大孔金伯利钻石矿进行资本主义开采的同时,也将女性的阴道作为一种创造性的力量加以颂扬,这就是历史大洞(在苏珊-洛丽-帕克斯的《美国剧作》中被介绍)在南非的翻版。斯科利的洞穴壁画并没有将这种艺术形式描绘成静态的人种学遗迹,而是生动地想象了南非原住民科伊族的母系起源故事。在格鲁特加特楼上几层,唱片艺术家 Msaki 的 Del'ukufa(《敢死队》)也表达了类似的流离失所的创伤感。Msaki 在整个艺术节期间举行了一系列特定场地的公共仪式,这次表演是其中的第一场。Msaki 环绕并涂抹了一个红土堆,上面点缀着蜡烛、十字架和牛头骨,唤起了人们对东开普省殖民暴力的记忆。为她高亢的女高音伴奏的是草席上的一位乐师和一些燃烧着的用于祖先交流的蕲艾草:Ndiyozilanda!(大致意思是 "我回来取我的东西")。视觉、听觉和嗅觉结合在一起,带领观众踏上了一次多感官的形而上之旅,而这一切都是静止不动的。Msaki 运用听觉历史暗示了个人和集体治愈的可能性。在一楼,诗人兼表演者科勒卡-普图玛(Koleka Putuma)邀请观众走进她的多媒体展厅装置,沉思黑人社区的药物滥用问题,以及土著药物和迷幻药提供的恢复可能性。尽管名为 "美的剧场":Imvuselelo(《复兴》),普图玛的装置艺术却没有她广受赞誉的个人表演《Hullo, Bu-Bye, Koko, Come In》那么明显的戏剧性,而《Hullo, Bu-Bye, Koko, Come In》是 2022 年国家艺术节上最令人难忘的表演之一。然而,这种形式上的流动性和对简单归类的抵制成为了普图玛的......
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引用次数: 0
Oregon Shakespeare Festival (review) 俄勒冈莎士比亚戏剧节(回顾)
IF 0.5 3区 艺术学 0 THEATER Pub Date : 2024-07-23 DOI: 10.1353/tj.2024.a932174
Lindsey Mantoan
In lieu of an abstract, here is a brief excerpt of the content:

Reviewed by:

  • Oregon Shakespeare Festival
  • Lindsey Mantoan
OREGON SHAKESPEARE FESTIVAL. Ashland, OR. September 21-23, 2023.

In the wake of tremendous upheaval at the Oregon Shakespeare Festival (OSF), from leadership turnover to the COVID-19 pandemic to wildfires to audiences balking at a reduction in plays by Shakespeare in favor of new works by diverse playwrights, OSF produced a “Season of Love” in 2023. This season featured five live productions, down from eleven in previous years: Romeo and Juliet, Twelfth Night, Rent, The Three Musketeers, and the one-person tour-de-force Where We Belong. Showcasing beloved titles aimed at bringing back audiences still reluctant to go to live theatre, the “Season of Love” generally avoided the hard-hitting contemporary socio-political issues recent productions have explored (institutional racism, gender identity, queer love) and focused instead on widely appealing themes of romance, connection, and family (both found and biological).

Despite the move toward programming with broad appeal, no doubt intended to boost the organization’s financial outlook, OSF emailed patrons in April 2023, on the eve of opening, with a plea entitled “Save Our Season,” informing the theatregoing community that the entire 2023 season might be shut down due to lack of funds: “Right now, OSF is in crisis. . . . We see the path forward to sustained success, but we need your help to get there. We have set an ambitious goal of raising $2.5 million dollars over the next four months in order to save our season and to help us continue producing the world-class theatre that keeps you coming back home to OSF year after year.” Two months later, the organization had met that goal and issued another, more ambitious one: $7.3 million to complete the season. Robust community support for the festival, paired with a crowd-pleasing season, generated a better financial outlook for the festival than it has enjoyed in recent years.

But financial woes are only one of the challenges the organization faced this season. After a series of separations and furloughs in January, Artistic Director Nataki Garrett stepped into the position of interim executive director, a role she juggled with her artistic director duties and her work as director of Romeo and Juliet. Yet, on the eve of the production’s opening night, it was announced that Garrett was stepping down as artistic director, ending a tumultuous three years at the helm of the 88-year-old festival. In July, Tim Bond was announced as Garrett’s successor. He is a familiar face at OSF, having directed How I Learned What I Learned in 2022 and serving as the festival’s associate artistic director for eleven seasons, from 1996 through 200

以下是内容的简要摘录,以代替摘要:评论者:俄勒冈莎士比亚戏剧节 俄勒冈莎士比亚戏剧节 Lindsey Mantoan OREGON SHAKESPEARE FESTIVAL.俄勒冈州阿什兰。2023 年 9 月 21-23 日。俄勒冈莎士比亚戏剧节(OSF)经历了巨大的动荡,从领导层更迭到 COVID-19 大流行、野火,再到观众对减少莎士比亚戏剧而改用不同剧作家的新作品表示不满,在这种情况下,OSF 于 2023 年推出了 "爱之季"。这一季的现场演出从往年的 11 场减少到 5 场:罗密欧与朱丽叶》、《第十二夜》、《出租》、《三个火枪手》以及单人巡演剧目《我们的归属》。"爱之季 "展示了深受喜爱的剧目,旨在吸引仍不愿去现场观看戏剧的观众,总体上避免了近期剧目所探讨的具有强烈冲击力的当代社会政治问题(制度性种族主义、性别认同、同性恋之爱),而是将重点放在浪漫、联系和家庭(包括亲情和爱情)等具有广泛吸引力的主题上。尽管OSF在节目编排上倾向于具有广泛吸引力的主题,这无疑是为了改善该组织的财务状况,但在2023年4月开幕前夕,OSF还是向观众发送了一封名为 "拯救我们的演出季 "的电子邮件,告知戏剧界,由于缺乏资金,整个2023年的演出季可能会停演:"现在,OSF 正处于危机之中。. . ..我们看到了通往持续成功的道路,但我们需要您的帮助。我们制定了一个雄心勃勃的目标,即在未来四个月内筹集 250 万美元,以挽救我们的演出季,帮助我们继续制作世界一流的戏剧,让您年复一年地回到 OSF 的家。两个月后,该组织实现了这一目标,并发布了另一个更加雄心勃勃的目标:730 万美元以完成演出季。社会各界对戏剧节的大力支持,再加上观众对戏剧季的热捧,为戏剧节带来了比近年来更好的财务前景。但财务困境只是该组织在本演出季面临的挑战之一。在一月份的一系列离职和休假之后,艺术总监纳塔基-加勒特(Nataki Garrett)担任了临时执行总监一职,同时兼任艺术总监和《罗密欧与朱丽叶》的导演。然而,在《罗密欧与朱丽叶》首演前夕,加勒特宣布辞去艺术总监一职,结束了执掌这个拥有 88 年历史的艺术节的三年动荡岁月。今年 7 月,蒂姆-邦德(Tim Bond)被宣布接替加内特。他是 OSF 的熟人,曾在 2022 年执导过《我是如何学会我所学的》,并在 1996 年至 2007 年的 11 个演出季中担任艺术节的副艺术总监。邦德是董事会的明智之选,他曾担任过另外两家机构的艺术总监,经验丰富,深受 OSF 观众的喜爱。在所有这些台前幕后的戏剧中,OSF 制作了出色的戏剧。在安格斯-鲍默(Angus Bowmer)剧院,加勒特(Garrett)以西海岸经济差距为背景,创作了《罗密欧与朱丽叶》(Romeo and Juliet),集中反映了匮乏对社区形成的影响。当尊严相同的两座房子爆发新的叛乱时,劳伦斯修道士在无家可归者营地中进进出出,为作品提供了背景,他乘坐的露营车传递着信仰、希望、食物和 COVID 面具。巧妙的场景设计以一座车来车往的桥梁投影为特色,而帐篷城和房车外壳则无法为剧中人物遮风挡雨,也无法为他们自身的不良冲动遮风挡雨。作为写给奥克兰的情书,加勒特的这部作品充分展现了这对最著名的青春期恋人的年少轻狂,阳台上的一幕更是引得观众哄堂大笑。爆发性的歌声和即兴的舞蹈动作彰显了这些青少年角色情感上的不成熟,他们之间的冲突与其说是源于宿怨,不如说是源于少年的自负。故事发生在 "大衰退与现在之间的某个时间",该剧采用了现代嘻哈节奏和屏幕技术:劳伦斯修道士发给罗密欧的关于朱丽叶被(暂时)毒死的短信无法发送,无家可归者营地的手机服务黑洞标志着无家可归者面临的另一种程度的孤立。剧中人物故意...
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