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TDR-The Drama Review-The Journal of Performance Studies最新文献

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Tragedy, Catastrophe, Ecology 悲剧、灾难、生态
IF 0.3 2区 艺术学 Q1 Arts and Humanities 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
Whose Environmental Sustainability? 谁的环境可持续性?
IF 0.3 2区 艺术学 Q1 Arts and Humanities Pub Date : 2023-03-01 DOI: 10.1017/S1054204322000806
Ho-chak Law
Discussion on environmental sustainability in the past two decades has often engendered more controversy than agreement. The Beijing Olympics in 2008 and 2022 are examples of state bureaucrats and international media outlets upholding polarized viewpoints on achieving carbon neutrality. The “original ecology” folk song of 21st-century China further demonstrates how anthropocentric interests could easily divert people’s attention away from issues critical to planetary wellness.
在过去的二十年里,关于环境可持续性的讨论往往引发了更多的争议,而不是一致意见。2008年和2022年的北京奥运会是国家官员和国际媒体在实现碳中和问题上坚持两极化观点的例子。21世纪中国的“原生态”民歌进一步表明,以人类为中心的利益很容易将人们的注意力从对地球健康至关重要的问题上转移开。
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引用次数: 0
On Quitting 关于退出
IF 0.3 2区 艺术学 Q1 Arts and Humanities Pub Date : 2023-03-01 DOI: 10.1017/s1054204322000958
S. Balkin
Like Hannah Gadsby, Dave Chappelle understands the art of quitting. At the end of his 2021 Netflix special The Closer, a show full of jokes about LGBTQ people, Chappelle announces that he is “done” making such jokes “until we are both sure that we are laughing together.” Chappelle’s performance of quitting inverts the politics and structure of Gadsby’s Nanette (2017), in which she infamously quit comedy because it reinforced her marginalization as a gender-nonconforming lesbian.
和Hannah Gadsby一样,Dave Chappelle懂得辞职的艺术。在2021年网飞特辑《Closer》的结尾,Chappelle宣布他“不再”开这样的玩笑了,“直到我们都确定我们在一起笑。”Chappelle的退出表演颠覆了Gadsby的《Nanette》(2017)的政治和结构,在这部电影中,她臭名昭著地退出了喜剧,因为它强化了她作为一个性别不合的女同性恋者的边缘化。
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引用次数: 7
Flexible Performativity 灵活的性能
IF 0.3 2区 艺术学 Q1 Arts and Humanities Pub Date : 2023-03-01 DOI: 10.1017/S1054204322000922
Annelies Van Assche, Kareth Schaffer
Scholarly work rarely examines the labor of the contemporary dance artist as a performer. Flexible performativity describes the discrete skill set dancers today must be able to deploy in performance. Flexible performativity and its characteristics of negotiating proximity, autodramaturgy, hyperindividualism, and hyperreferentialism mold the dancer prototypical of the movement logics of the early 21st century.
学术作品很少考察当代舞蹈艺术家作为表演者的劳动。灵活的表演性描述了当今舞者必须能够在表演中运用的离散技能。灵活的表演性及其协商接近性、自主性、超个体性和超指涉性的特征塑造了21世纪初舞蹈动作逻辑的原型。
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引用次数: 0
Australian Coal Theatrics 澳大利亚煤炭剧院
IF 0.3 2区 艺术学 Q1 Arts and Humanities Pub Date : 2023-03-01 DOI: 10.1017/s1054204322000867
D. Varney, Lara Stevens
Climate change was the defining issue in the 2022 Australian federal election. As a new administration takes power, all sectors, including the performing arts, need to keep up the pressure. An iconic moment of “coal theatrics” in Parliament House, so labeled by the Australian media, stands in contrast to artistic performances that continue to put pressure on the framers of political and cultural policy.
气候变化是2022年澳大利亚联邦选举的决定性议题。新政府上台后,包括演艺界在内的所有领域都需要保持压力。被澳大利亚媒体贴上“煤炭戏剧”标签的国会大厦的标志性时刻,与继续向政治和文化政策制定者施加压力的艺术表演形成鲜明对比。
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引用次数: 0
Theatre for Future 未来剧院
IF 0.3 2区 艺术学 Q1 Arts and Humanities Pub Date : 2023-03-01 DOI: 10.1017/S1054204322000703
Gloria Benedikt
The human species has the ability to understand complex systems such as planetary boundaries. But then it does not take action and destroys its existential basis, its global habitat. Whether the story ends here is up to us. A new relationship between science, art, and activism suggests a new paradigm to support a more sustainable existence.
人类有能力理解复杂的系统,比如行星边界。但它不采取行动,破坏了它的生存基础,它的全球栖息地。故事是否就此结束取决于我们。科学、艺术和行动主义之间的新关系提出了一种支持更可持续存在的新范式。
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引用次数: 0
Nation-States’ Rivalry and Climate Change 民族国家的竞争与气候变化
IF 0.3 2区 艺术学 Q1 Arts and Humanities Pub Date : 2023-03-01 DOI: 10.1017/s1054204322000818
Kwai-Cheung Lo
Any planet-wide solutions to climate change have to be enforced by nation-states. China and the United States, currently producing the most carbon dioxide, are competing with growing hostility. The interstate hostility, even in a new Cold War era, may push competing nations to implement climate-friendly actions for the sake of national security.
任何全球性的气候变化解决方案都必须由民族国家强制执行。目前二氧化碳排放量最大的中国和美国正在与日益增长的敌意竞争。即使在新冷战时期,国家间的敌意也可能促使相互竞争的国家为了国家安全采取气候友好行动。
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引用次数: 0
Under the Sign of The Mother 在母亲的标志下
IF 0.3 2区 艺术学 Q1 Arts and Humanities Pub Date : 2023-03-01 DOI: 10.1017/S1054204322000971
B. Jakovljević
A key lesson of the Wooster Group’s production of Bertolt Brecht’s learning play The Mother concerns the meaning of ownership in capitalism. Unlike other businesses that moved into SoHo during the wave of deindustrialization that began in the late 1960s, the group of actors that owns a former metal stamping factory at 33 Wooster Street shows that their relationship towards their means of production is not only economic, but also ethical. This is at the foundation of their distinct theatrical aesthetics.
伍斯特集团(Wooster Group)制作贝托尔特·布莱希特(Bertolt Brecht)的学习剧《母亲》(the Mother)的一个关键教训是,所有权在资本主义中的意义。与其他在20世纪60年代末开始的去工业化浪潮中迁入SoHo的企业不同,这群演员在伍斯特街33号拥有一家前金属冲压厂,他们与生产资料的关系不仅是经济上的,而且是道德上的。这是他们独特的戏剧美学的基础。
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引用次数: 0
Catastrophe of the Catastrophe 灾难的灾难
IF 0.3 2区 艺术学 Q1 Arts and Humanities Pub Date : 2023-03-01 DOI: 10.1017/S1054204322000788
B. Jakovljević
Considering correspondences between historical and dramatic imagination, how can we theatre and performance scholars find ways to represent the Capitalocene and offer a vision of a future other than that of decline or incessant growth?
考虑到历史想象和戏剧想象之间的对应关系,我们戏剧和表演学者如何找到代表Capitalocene的方法,并提供一个除了衰落或不断增长之外的未来愿景?
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引用次数: 0
Back for Good 永远回来
IF 0.3 2区 艺术学 Q1 Arts and Humanities Pub Date : 2022-12-01 DOI: 10.1017/S1054204322000612
Regan Michael Lynch
As venues shuttered across Australia, a fervent queer nightlife dreamed up new relations with virtuality, traversing the unstable terrains of memory and trauma. From reflections of sweaty dance floors to the 2020 Zoom-wave of internet performance, the mutual consideration of presence and lack both complexifies and reifies the stakes in reviving queer nightlife cultures.
随着澳大利亚各地的场所关闭,狂热的酷儿夜生活梦想着与虚拟的新关系,穿越记忆和创伤的不稳定地形。从汗水淋漓的舞池倒影到2020年网络表演的变焦浪潮,对存在与缺失的相互思考,既使酷儿夜生活文化复兴的风险变得复杂,也使之具体化。
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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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