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A Necropower Carnival: Israeli Soldiers Dancing in the Palestinian Occupied Territories Necropower嘉年华:以色列士兵在巴勒斯坦被占领土上跳舞
IF 0.3 2区 艺术学 0 THEATER Pub Date : 2023-03-01 DOI: 10.1017/S1054204322000910
Melissa Melpignano
Israeli soldiers dancing to global pop hits in the Occupied Palestinian Territories look like they are having fun, and there is always something entertainingly contradictory in watching army bodies circumventing the military codes. But the choreographic analysis of three viral videos from the 2010s reveals how dancing serves the Israel Defense Forces’ territorializing and necropower strategy.
在被占领的巴勒斯坦领土上,以色列士兵随着全球流行歌曲跳舞,看起来他们很开心,而看着军队规避军事法规,总是有一些有趣的矛盾之处。但是,对2010年代三个病毒视频的舞蹈分析揭示了舞蹈是如何为以色列国防军的领土化和necropower战略服务的。
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引用次数: 0
Recycling as Refusing the End of the World 回收是拒绝世界末日
IF 0.3 2区 艺术学 0 THEATER Pub Date : 2023-03-01 DOI: 10.1017/s105420432200082x
Kathleen M. Millar
How is the climate crisis viewed by workers in Rio de Janeiro, Brazil, who reclaim recyclables on a garbage dump — a place long entangled with decay and death? The act of reclaiming waste is a reminder that it is impossible to understand the current crisis without considering its origins in the labor of racial capitalism and in the productivism that capitalism demands. Reclaiming requires staying with degradation, remaking a world that is seemingly always ending.
巴西里约热内卢的工人们如何看待气候危机,他们在垃圾场回收可回收物,这个地方长期与腐烂和死亡纠缠在一起?回收废物的行为提醒我们,如果不考虑其起源于种族资本主义的劳动和资本主义所要求的生产力,就不可能理解当前的危机。回收需要与退化共存,重塑一个似乎永远都在结束的世界。
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引用次数: 0
Slow Dramaturgies 缓慢的戏剧作法
IF 0.3 2区 艺术学 0 THEATER Pub Date : 2023-03-01 DOI: 10.1017/S1054204322000752
Sariel Golomb
Whether scientist, politician, or theatre-maker, the challenge one faces in representing climate change is an accompanying epistemic crisis; it is contingent upon and resistant to legibility, and we cannot apprehend it in its totality. Freud’s Beyond the Pleasure Principle poses a potential aesthetic and dramaturgical model for this challenge.
无论是科学家、政治家还是戏剧制作人,在描述气候变化时所面临的挑战都伴随着认知危机;它依赖于易读性,并且抗拒易读性,我们不能从整体上理解它。弗洛伊德的超越快乐原则为这一挑战提供了一个潜在的美学和戏剧模型。
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引用次数: 0
TDR volume 67 issue 1 Cover and Front matter TDR第67卷第1期封面和封面
IF 0.3 2区 艺术学 0 THEATER Pub Date : 2023-03-01 DOI: 10.1017/s1054204322000983
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引用次数: 0
Economies of Reperformance 再履约经济
IF 0.3 2区 艺术学 0 THEATER Pub Date : 2023-03-01 DOI: 10.1017/S105420432200096X
Rebecca Chaleff
As the very first wave of the Covid-19 pandemic ebbed in the United States, a new production of Pina Bausch’s The Rite of Spring (1975) appeared online. Performed on Senegal’s shoreline, Dancing at Dusk resituates Bausch’s choreography within the beach’s formative histories of racialized violence, colonialism, and white supremacy. In this context, the performance also prompts considerations of the relationships between the enduring histories of racial capitalism and the futures of choreographic economies.
随着新冠肺炎疫情在美国的第一波消退,皮娜·鲍施(Pina Bausch)的《春天的仪式》(1975)的新作品出现在网上。在塞内加尔海岸线上表演的《黄昏之舞》在海滩上种族化暴力、殖民主义和白人至上主义的形成历史中重现了鲍施的舞蹈编排。在这种背景下,这场演出也促使人们考虑种族资本主义的悠久历史与舞蹈经济的未来之间的关系。
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引用次数: 0
Infrastructural Performativity and Necrogeologies 基础设施性能和死亡地质学
IF 0.3 2区 艺术学 0 THEATER Pub Date : 2023-03-01 DOI: 10.1017/S1054204322000880
C. Wilch
Now that decades-long efforts to convince diverse publics that anthropogenic climate change is real have largely succeeded, but efforts to avoid extreme climate change have not, what comes next? By understanding the performative nature of infrastructure, communities can bring critical and creative attention to physical structures and daily practices that compose normative ecological relations and cocreate more just and livable climates.
几十年来,人们一直在努力说服不同的公众相信人为气候变化是真实存在的,但避免极端气候变化的努力却没有成功,接下来会发生什么?通过理解基础设施的表演性质,社区可以对构成规范生态关系的物理结构和日常实践给予批判性和创造性的关注,并共同创造更公正和宜居的气候。
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引用次数: 0
No Longer a Laughing Matter 不再是笑柄
IF 0.3 2区 艺术学 0 THEATER Pub Date : 2023-03-01 DOI: 10.1017/S1054204322000946
R. C. Amaefula
Maraji, a Nigerian humorist, performatively questions the lingering dominance of men in comedy as she brings humor to the everyday lives of Nigerians. Her work on social media draws audience attention to women’s role in society, shaping the future of comedic presentations in the African digital space.
尼日利亚幽默作家马拉吉将幽默带到尼日利亚人的日常生活中,她以表演的方式质疑男性在喜剧中挥之不去的主导地位。她在社交媒体上的工作吸引了观众对女性在社会中角色的关注,塑造了非洲数字空间喜剧表演的未来。
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引用次数: 0
Tragedy, Catastrophe, Ecology 悲剧、灾难、生态
IF 0.3 2区 艺术学 0 THEATER Pub Date : 2023-03-01 DOI: 10.1017/s1054204322000685
M. Smith
The term “catastrophe” has a complex history that has become deeply embedded in Western, and increasingly global, cultures. So it is natural enough, when confronted by a phenomenon as harrowing as climate change, to employ the concept and its attendant connotations. But the lens of catastrophe often distorts more than it reveals.
“灾难”一词有着复杂的历史,已经深深植根于西方文化,并日益全球化。因此,当面对像气候变化这样令人痛心的现象时,使用这个概念及其随之而来的含义是很自然的。但灾难的镜头往往扭曲得比它所揭示的更多。
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引用次数: 0
Perspectivizing Burning Futures 展望燃烧的未来
IF 0.3 2区 艺术学 0 THEATER Pub Date : 2023-03-01 DOI: 10.1017/S1054204322000776
M. Haas
Since 2019, the lecture and discussion series Burning Futures: On Ecologies of Existence at Berlin’s HAU Hebbel am Ufer has been exploring the significance of environmental and climate destruction in the context of contemporary theatre. Combining positions of eco-Marxism and -feminism, black studies, and new materialism, panels examine political and cultural dimensions of the apocalyptic discourses that accompany current ecocatastrophes as well as possible ways out of the socioecological mess.
自2019年以来,柏林HAU Hebbel am Ufer的讲座和讨论系列“燃烧的未来:关于存在的生态”一直在探索当代戏剧背景下环境和气候破坏的意义。结合生态马克思主义和女权主义、黑人研究和新唯物主义的立场,小组考察了伴随当前生态灾难的世界末日话语的政治和文化维度,以及走出社会生态混乱的可能途径。
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引用次数: 0
36.5/New York Estuary 36.5/纽约河口
IF 0.3 2区 艺术学 0 THEATER Pub Date : 2023-03-01 DOI: 10.1017/s1054204322000673
Sarah Cameron Sunde
Abstract:A Durational Performance with the Sea (2013–2022) is a series of nine site-specific performances and video artworks that activate the public on personal, local, and global scales in conversations about deep time, embodied experience, and sea-level rise. Sunde stands in a tidal plane for the full tidal cycle (12–13 hours) as water engulfs her body and then reveals it again. The public is invited to participate in all aspects of making this work. Photographer Geoff Green captures a 30-second slice of time taken during Sarah Cameron Sunde’s 12-hour, 39-minute durational performance with the sea, on 14 September 2022. www.36pt5.org.
摘要:《与海的持久表演》(2013-2022)是一系列九场特定地点的表演和视频艺术作品,在个人、地方和全球范围内激活公众,对话深度时间、具体体验和海平面上升。Sunde在整个潮汐周期(12-13小时)内都站在潮汐平面上,水吞没了她的身体,然后再次露出身体。邀请公众参与这项工作的各个方面。2022年9月14日,摄影师杰夫·格林在莎拉·卡梅伦·桑德的12小时39分钟的海上表演中拍摄了一段30秒的时间。www.36pt5.org。
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引用次数: 0
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TDR-The Drama Review-The Journal of Performance Studies
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