Pub Date : 2021-01-22DOI: 10.7146/NTS.V32I2.124358
Luule Epner, A. Saro
The article investigates the construction of transnational Finno-Ugric identity through the theatre festival Mayatul and different performative strategies. This kind of identity construction is investigated through the framework of identity politics and transnationalism. The definition of the Finno-Ugric peoples (Finns, Estonians, Hungarians, Samis, Mordvins, Komi, Udmurts and others) is based foremost on their language kinship. It is believed that similar characteristics of languages and a similar natural environment and climate have shaped the close-to-nature lifestyle and the particular perception of the world shared by the Finno-Ugric peoples. Essential platforms for constructing transnational Finno-Ugric identity are different theatre festivals, among which Mayatul (since 1992) is the most prominent. The majority of productions at the festival are performed in FinnoUgric languages and interpret the literary texts or folklore of these peoples. However, only a few productions strive for indigenous aesthetics like those of Estonian theatre director Anne Türnpu. The Finno-Ugric peoples’ identity is predominantly a minority identity because mostly they represent a small national and language group in a bigger state like Russia, and only Finland and Hungary have enjoyed one hundred years of independence. Nevertheless, all countries and nations embrace smaller ethnic or cultural minorities, thus minority identity is a universal concept. Theatre festivals are able to unite minority identities into larger transnational identites, even when it is just an imagined community.
本文通过马亚图尔戏剧节和不同的表演策略来考察芬兰-乌戈尔人跨国身份的建构。这种认同建构是通过认同政治和跨国主义的框架来研究的。芬兰-乌戈尔民族(芬兰人、爱沙尼亚人、匈牙利人、萨米人、莫德温人、科米人、乌德穆尔特人等)的定义主要基于他们的语言亲缘关系。人们认为，相似的语言特征和相似的自然环境和气候形成了芬兰-乌戈尔民族接近自然的生活方式和对世界的特殊看法。不同的戏剧节是构建跨国芬兰-乌戈尔身份认同的重要平台，其中马亚图尔戏剧节(自1992年起)最为突出。节日上的大部分作品都是用芬兰语言表演的，并解释这些民族的文学文本或民间传说。然而，只有少数作品像爱沙尼亚戏剧导演Anne t rnpu那样追求本土美学。芬兰-乌戈尔人的身份主要是一种少数民族身份，因为他们在像俄罗斯这样的大国家中代表了一个小的民族和语言群体，只有芬兰和匈牙利享受了一百年的独立。然而，所有国家和民族都有较小的民族或文化上的少数民族，因此少数民族身份是一个普遍的概念。戏剧节能够将少数民族的身份统一为更大的跨国身份，即使它只是一个想象中的社区。
{"title":"Constructing Finno-Ugric Identity through Theatre","authors":"Luule Epner, A. Saro","doi":"10.7146/NTS.V32I2.124358","DOIUrl":"https://doi.org/10.7146/NTS.V32I2.124358","url":null,"abstract":"The article investigates the construction of transnational Finno-Ugric identity through the theatre festival Mayatul and different performative strategies. This kind of identity construction is investigated through the framework of identity politics and transnationalism. The definition of the Finno-Ugric peoples (Finns, Estonians, Hungarians, Samis, Mordvins, Komi, Udmurts and others) is based foremost on their language kinship. It is believed that similar characteristics of languages and a similar natural environment and climate have shaped the close-to-nature lifestyle and the particular perception of the world shared by the Finno-Ugric peoples. Essential platforms for constructing transnational Finno-Ugric identity are different theatre festivals, among which Mayatul (since 1992) is the most prominent. The majority of productions at the festival are performed in FinnoUgric languages and interpret the literary texts or folklore of these peoples. However, only a few productions strive for indigenous aesthetics like those of Estonian theatre director Anne Türnpu. The Finno-Ugric peoples’ identity is predominantly a minority identity because mostly they represent a small national and language group in a bigger state like Russia, and only Finland and Hungary have enjoyed one hundred years of independence. Nevertheless, all countries and nations embrace smaller ethnic or cultural minorities, thus minority identity is a universal concept. Theatre festivals are able to unite minority identities into larger transnational identites, even when it is just an imagined community.","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"48 1","pages":"156-173"},"PeriodicalIF":0.3,"publicationDate":"2021-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74681664","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}
Pub Date : 2021-01-22DOI: 10.7146/NTS.V32I2.124355
M. Seppälä
This article explores theatrical exchanges across the Baltic Sea in the 1930s as part of the cultural diplomacy of recently independent Finland. The Finnish National Theatre visited the Estonia Theatre in Tallinn in 1931 and in 1937, and the Royal Dramatic Theatre in Stockholm in 1936. These theatre visits were different in terms of the visiting production. In Stockholm in 1936, and in Tallinn in 1937, the Finnish National Theatre showcased its work, while during the bilateral exchange with the Estonia Theatre in 1931, the main actors of two of the productions visited the other theatre and the audiences saw two hybrid performances of the two productions. Therefore, the visits are discussed in terms of international and transnational exchange.
{"title":"Theatre Against Stagnation","authors":"M. Seppälä","doi":"10.7146/NTS.V32I2.124355","DOIUrl":"https://doi.org/10.7146/NTS.V32I2.124355","url":null,"abstract":"This article explores theatrical exchanges across the Baltic Sea in the 1930s as part of the cultural diplomacy of recently independent Finland. The Finnish National Theatre visited the Estonia Theatre in Tallinn in 1931 and in 1937, and the Royal Dramatic Theatre in Stockholm in 1936. These theatre visits were different in terms of the visiting production. In Stockholm in 1936, and in Tallinn in 1937, the Finnish National Theatre showcased its work, while during the bilateral exchange with the Estonia Theatre in 1931, the main actors of two of the productions visited the other theatre and the audiences saw two hybrid performances of the two productions. Therefore, the visits are discussed in terms of international and transnational exchange.","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"4 1","pages":"119-137"},"PeriodicalIF":0.3,"publicationDate":"2021-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79482829","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}
Pub Date : 2021-01-22DOI: 10.7146/NTS.V32I2.124349
Whitney Byrn
This article investigates the artistic Grand Tour of the nineteenth-century Danish theatre painter C.F. Christensen made between the spring of 1838 and the fall of 1839, and how it influenced his later scenographic work at the Royal Danish Theatre. Using a variety of archival sources, his Grand Tour is reconstructed. His travels through Germany, Bohemia, Moravia, Switzerland, France, Italy, and the Tyrol exposed him to some of the greatest art and most innovative theatre Europe had to offer. Through the sketches done on his trip, it is possible to see the seeds of inspiration that took root in his scenography upon his return to Copenhagen. Scenography for two August Bournonville ballets that Christensen created after his return will be analyzed: The Festival in Albano and Acts 2 and 3 of Napoli.
{"title":"The Grand Tour of Europe","authors":"Whitney Byrn","doi":"10.7146/NTS.V32I2.124349","DOIUrl":"https://doi.org/10.7146/NTS.V32I2.124349","url":null,"abstract":"This article investigates the artistic Grand Tour of the nineteenth-century Danish theatre painter C.F. Christensen made between the spring of 1838 and the fall of 1839, and how it influenced his later scenographic work at the Royal Danish Theatre. Using a variety of archival sources, his Grand Tour is reconstructed. His travels through Germany, Bohemia, Moravia, Switzerland, France, Italy, and the Tyrol exposed him to some of the greatest art and most innovative theatre Europe had to offer. Through the sketches done on his trip, it is possible to see the seeds of inspiration that took root in his scenography upon his return to Copenhagen. Scenography for two August Bournonville ballets that Christensen created after his return will be analyzed: The Festival in Albano and Acts 2 and 3 of Napoli.","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"9 1","pages":"71-88"},"PeriodicalIF":0.3,"publicationDate":"2021-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81771186","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}
Pub Date : 2021-01-22DOI: 10.7146/NTS.V32I2.124353
Hanna Korsberg
This article explores theatrical exchanges across the Baltic Sea in the 1930s as part of the cultural diplomacy of recently independent Finland. The Finnish National Theatre visited the Estonia Theatre in Tallinn in 1931 and in 1937, and the Royal Dramatic Theatre in Stockholm in 1936. These theatre visits were different in terms of the visiting production. In Stockholm in 1936, and in Tallinn in 1937, the Finnish National Theatre showcased its work, while during the bilateral exchange with the Estonia Theatre in 1931, the main actors of two of the productions visited the other theatre and the audiences saw two hybrid performances of the two productions. Therefore, the visits are discussed in terms of international and transnational exchange.
{"title":"Theatrical Exchanges across the Baltic Sea in the 1930s","authors":"Hanna Korsberg","doi":"10.7146/NTS.V32I2.124353","DOIUrl":"https://doi.org/10.7146/NTS.V32I2.124353","url":null,"abstract":"This article explores theatrical exchanges across the Baltic Sea in the 1930s as part of the cultural diplomacy of recently independent Finland. The Finnish National Theatre visited the Estonia Theatre in Tallinn in 1931 and in 1937, and the Royal Dramatic Theatre in Stockholm in 1936. These theatre visits were different in terms of the visiting production. In Stockholm in 1936, and in Tallinn in 1937, the Finnish National Theatre showcased its work, while during the bilateral exchange with the Estonia Theatre in 1931, the main actors of two of the productions visited the other theatre and the audiences saw two hybrid performances of the two productions. Therefore, the visits are discussed in terms of international and transnational exchange.","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"19 1","pages":"106-118"},"PeriodicalIF":0.3,"publicationDate":"2021-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87921738","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}
Pub Date : 2021-01-22DOI: 10.7146/NTS.V32I2.124347
Piret Kruuspere
The article discusses Estonian memory theatre in the 1970s–90s and at the beginning of the twenty-first century in the framework of transnational/transcultural influences. Dwelling on Jeanette R. Malkin’s definition of memory theatre as a theatre that both imitates the flow of memories and initiates the process of remembrance, and relying on the concepts of transnational and transcultural memory, I analyze the dramatic texts of Estonian playwrights Rein Saluri and Madis Koiv, likewise the works of female stage director Merle Karusoo. I focus on the phenomenon of travelling memory, introduced by scholar of literature and culture, Astrid Erll, and engage a comparative approach to the texts and stage interpretations. Through the media of texts and mnemonic forms in motion and on the basis of particular case studies, I examine how stories/narratives, memory patterns, and mnemonic practices have crossed cultural borderlines and been performed on different (Estonian, Finnish, Estonian-Russian, Austrian) stages, and how they have primarily launched hidden or blurred memories.
本文在跨国/跨文化影响的框架下讨论了20世纪70年代至90年代和21世纪初的爱沙尼亚记忆戏剧。Jeanette R. Malkin将记忆剧场定义为一种既模仿记忆的流动又启动记忆过程的剧场，并基于跨国和跨文化记忆的概念，我分析了爱沙尼亚剧作家Rein Saluri和Madis Koiv的戏剧文本，以及女性舞台导演Merle Karusoo的作品。我关注文学和文化学者Astrid Erll介绍的旅行记忆现象，并对文本和舞台解释采取比较方法。通过文本媒体和运动中的助记形式，并在特定案例研究的基础上，我研究了故事/叙事，记忆模式和助记实践如何跨越文化界限，并在不同的阶段(爱沙尼亚，芬兰，爱沙尼亚-俄罗斯，奥地利)进行，以及它们如何主要启动隐藏或模糊的记忆。
{"title":"The Travelling of Dramatic Texts and Memory Patterns","authors":"Piret Kruuspere","doi":"10.7146/NTS.V32I2.124347","DOIUrl":"https://doi.org/10.7146/NTS.V32I2.124347","url":null,"abstract":"The article discusses Estonian memory theatre in the 1970s–90s and at the beginning of the twenty-first century in the framework of transnational/transcultural influences. Dwelling on Jeanette R. Malkin’s definition of memory theatre as a theatre that both imitates the flow of memories and initiates the process of remembrance, and relying on the concepts of transnational and transcultural memory, I analyze the dramatic texts of Estonian playwrights Rein Saluri and Madis Koiv, likewise the works of female stage director Merle Karusoo. I focus on the phenomenon of travelling memory, introduced by scholar of literature and culture, Astrid Erll, and engage a comparative approach to the texts and stage interpretations. Through the media of texts and mnemonic forms in motion and on the basis of particular case studies, I examine how stories/narratives, memory patterns, and mnemonic practices have crossed cultural borderlines and been performed on different (Estonian, Finnish, Estonian-Russian, Austrian) stages, and how they have primarily launched hidden or blurred memories.","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"140 1","pages":"40-53"},"PeriodicalIF":0.3,"publicationDate":"2021-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72985755","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}
Pub Date : 2020-05-31DOI: 10.7146/nts.v32i1.120410
L. Høvik, Elena Pérez
The article proposes new concepts of dramaturgical thinking for baby theatre productions. With an arts-based research approach, allowing insiderperspectives of the artmaking process to come forth, the authors, who are the director and dramaturge of the performance Baby Becomings by Teater Fot, discuss different concepts of postdramatic dramaturgical aspects in relation to the work. By adapting Donna Haraway’s theories of sympoiesis and science art worldings as a theoretical framework, the article explores how Haraway’s philosophy serves both as artistic inspiration and provides new concepts for dramaturgical reflection. The authors ask how posthumanist and sympoietic perspectives connect to postdramatic dramaturgy and wish to propose a posthumanist dramaturgy of sympoietic worlding in theatre for babies.
{"title":"Baby Becomings","authors":"L. Høvik, Elena Pérez","doi":"10.7146/nts.v32i1.120410","DOIUrl":"https://doi.org/10.7146/nts.v32i1.120410","url":null,"abstract":"The article proposes new concepts of dramaturgical thinking for baby theatre productions. With an arts-based research approach, allowing insiderperspectives of the artmaking process to come forth, the authors, who are the director and dramaturge of the performance Baby Becomings by Teater Fot, discuss different concepts of postdramatic dramaturgical aspects in relation to the work. By adapting Donna Haraway’s theories of sympoiesis and science art worldings as a theoretical framework, the article explores how Haraway’s philosophy serves both as artistic inspiration and provides new concepts for dramaturgical reflection. The authors ask how posthumanist and sympoietic perspectives connect to postdramatic dramaturgy and wish to propose a posthumanist dramaturgy of sympoietic worlding in theatre for babies.","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83004906","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}
Pub Date : 2020-05-31DOI: 10.7146/nts.v32i1.120402
Teemu Paavolainen
The article expands on Lewis and Maslin’s “double two-step” historicization of the Anthropocene, with two major transitions in energy (agriculture and fossil fuels) and two in social organization (modernity and the Great Acceleration). Insofar as planetary impacts arise from “what we spend our time doing” – foraging, farming, feudal then waged labour, finally unsustainable consumption – such “doing” is understood as precisely ‘performative’ in the sense that its effects only arise from a massive social repetition that is confused with essential nature and thus concealed. Through a graphic model of such ‘plural performativity,’ four consecutive Anthropo(s)cenes are sketched: the Giving World of agriculture and state formation; the New World of colonial pillage and world trade; the Netherworld of wage labour and fossil capital; then ‘All the World’ but not with all of “us” as players. Apart from environmental changes, the paper targets performances of power and inequality: normative histories of ‘common sense’ on the one hand, concealing ‘people’s histories’ of conflict and opposition, on the other – the Anthropocene arising not simply from what the majority of people have been doing, but from what they have always beenforced to do.
{"title":"Doing Things With Natures","authors":"Teemu Paavolainen","doi":"10.7146/nts.v32i1.120402","DOIUrl":"https://doi.org/10.7146/nts.v32i1.120402","url":null,"abstract":"The article expands on Lewis and Maslin’s “double two-step” historicization of the Anthropocene, with two major transitions in energy (agriculture and fossil fuels) and two in social organization (modernity and the Great Acceleration). Insofar as planetary impacts arise from “what we spend our time doing” – foraging, farming, feudal then waged labour, finally unsustainable consumption – such “doing” is understood as precisely ‘performative’ in the sense that its effects only arise from a massive social repetition that is confused with essential nature and thus concealed. Through a graphic model of such ‘plural performativity,’ four consecutive Anthropo(s)cenes are sketched: the Giving World of agriculture and state formation; the New World of colonial pillage and world trade; the Netherworld of wage labour and fossil capital; then ‘All the World’ but not with all of “us” as players. Apart from environmental changes, the paper targets performances of power and inequality: normative histories of ‘common sense’ on the one hand, concealing ‘people’s histories’ of conflict and opposition, on the other – the Anthropocene arising not simply from what the majority of people have been doing, but from what they have always beenforced to do.","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"20 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78062289","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}
Pub Date : 2020-05-31DOI: 10.7146/nts.v32i1.120411
Annette Arlander
Is there a way for the anthropocentric and anthropomorphic art form par excellence, the theatre, or performance art for that matter, to expand beyond their human and humanist bias? Is the term Anthropocene in any way useful for theatre and performance studies or performance-as-research? In the anthology Anthropocene Feminism (Grusin 2017) Rosi Braidotti proposes four theses for a posthumanist feminism: 1) feminism is not a humanism, 2) anthropos is off-center, 3) zoe is the ruling principle, 4) sexuality is a force beyond gender. These assertions can undoubtedly be put on stage, but do they have relevance for developing or understanding performance practices off-stage and off-center, such as those trying to explore alternative ways and sites of performing, like performing with plants? In this text, I examine Braidotti’s affirmative theses and explore their usefulness with regard to performance analysis, use some of my experiments in the artistic research project “Performing with plants” as examples, and consider what the implications and possible uses of these theses are for our understanding of performances with other-than-human entities, which we share our planet with.
{"title":"Performing with Plants in the Ob-scene Anthropocene","authors":"Annette Arlander","doi":"10.7146/nts.v32i1.120411","DOIUrl":"https://doi.org/10.7146/nts.v32i1.120411","url":null,"abstract":"Is there a way for the anthropocentric and anthropomorphic art form par excellence, the theatre, or performance art for that matter, to expand beyond their human and humanist bias? Is the term Anthropocene in any way useful for theatre and performance studies or performance-as-research? \u0000In the anthology Anthropocene Feminism (Grusin 2017) Rosi Braidotti proposes four theses for a posthumanist feminism: 1) feminism is not a humanism, 2) anthropos is off-center, 3) zoe is the ruling principle, 4) sexuality is a force beyond gender. These assertions can undoubtedly be put on stage, but do they have relevance for developing or understanding performance practices off-stage and off-center, such as those trying to explore alternative ways and sites of performing, like performing with plants? \u0000In this text, I examine Braidotti’s affirmative theses and explore their usefulness with regard to performance analysis, use some of my experiments in the artistic research project “Performing with plants” as examples, and consider what the implications and possible uses of these theses are for our understanding of performances with other-than-human entities, which we share our planet with.","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"1957 1","pages":"121-142"},"PeriodicalIF":0.3,"publicationDate":"2020-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91275230","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}
Pub Date : 2020-05-31DOI: 10.7146/nts.v32i1.120413
Vlad Butucea
In this article I will discuss David O’Reilly’s video game Everything (2017), suggesting that its unique dramaturgy portrays an ecology in which the human is seen as forging alliances and interconnections with the non-human. Set in a seemingly infinite open-world environment, the game revolves around the player exploring vast digital landscapes from the vantage point of multiple nonhuman avatars. Wondering about with no defined goal or direction, I played as animals, plants, rocks, continents, and even galaxies, shifting from one state to the next and making unexpected alliances along the way. Employing Audronė Žukauskaitė concept of “nomadic performativity” (2015), I will suggest that the game’s dramaturgy invites the player to imagine the human as deeply embedded in a wide system of interaction with non-human others, as an immanent part of an ecosystem, rather than a transcendental being outside of it. In articulating this idea, Everything puts forward a theatrical critique of thehuman domination and othering of the natural environment that underpins and drives the Anthropocene.
在这篇文章中，我将讨论David O 'Reilly的电子游戏《Everything》(2017)，认为其独特的戏剧手法描绘了一种生态，在这种生态中，人类被视为与非人类建立联盟和相互联系。游戏设置在一个看似无限的开放世界环境中，围绕着玩家从多个非人类化身的有利位置探索广阔的数字景观。在没有明确目标或方向的情况下，我扮演动物、植物、岩石、大陆甚至星系，从一种状态切换到另一种状态，并在此过程中建立意想不到的联盟。利用audronnikolŽukauskaitė的“游牧表演性”(nomadic performativity, 2015)概念，我认为游戏的戏剧性会让玩家把人类想象成深深嵌入与非人类他人互动的广泛系统中，作为生态系统的内在组成部分，而不是超越它的存在。在阐明这一观点的过程中，《万物》对支撑和推动人类世的自然环境的人类统治和其他方面提出了戏剧性的批评。
{"title":"Gaming as Everything","authors":"Vlad Butucea","doi":"10.7146/nts.v32i1.120413","DOIUrl":"https://doi.org/10.7146/nts.v32i1.120413","url":null,"abstract":"In this article I will discuss David O’Reilly’s video game Everything (2017), suggesting that its unique dramaturgy portrays an ecology in which the human is seen as forging alliances and interconnections with the non-human. Set in a seemingly infinite open-world environment, the game revolves around the player exploring vast digital landscapes from the vantage point of multiple nonhuman avatars. Wondering about with no defined goal or direction, I played as animals, plants, rocks, continents, and even galaxies, shifting from one state to the next and making unexpected alliances along the way. Employing Audronė Žukauskaitė concept of “nomadic performativity” (2015), I will suggest that the game’s dramaturgy invites the player to imagine the human as deeply embedded in a wide system of interaction with non-human others, as an immanent part of an ecosystem, rather than a transcendental being outside of it. In articulating this idea, Everything puts forward a theatrical critique of thehuman domination and othering of the natural environment that underpins and drives the Anthropocene.","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"29 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2020-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78212787","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}
Pub Date : 2020-05-31DOI: 10.7146/nts.v32i1.120409
Erik Mattsson
This article explores a major but largely forgotten event at the intersection of the environmental movement and the movement of independent theatre groups in Sweden. Eko-positivet, a ritualistic mass-performance about nuclear power, was performed in Stockholm in May 1977 by 300-400 participants in front of around 4 000 spectators. In contrast to the discourse on class that dominated the political theatre of the time, the mass-spectacle enacted other kinds of collective, political identities, e.g. populist and biological ones. The established independent theatre groups did not participate in the event. In the article, it is argued that this reluctance can be explained by conflicting views on the political ‘we’.
{"title":"Who Are ‘We’ in a Nuclear Disaster?","authors":"Erik Mattsson","doi":"10.7146/nts.v32i1.120409","DOIUrl":"https://doi.org/10.7146/nts.v32i1.120409","url":null,"abstract":"This article explores a major but largely forgotten event at the intersection of the environmental movement and the movement of independent theatre groups in Sweden. Eko-positivet, a ritualistic mass-performance about nuclear power, was performed in Stockholm in May 1977 by 300-400 participants in front of around 4 000 spectators. In contrast to the discourse on class that dominated the political theatre of the time, the mass-spectacle enacted other kinds of collective, political identities, e.g. populist and biological ones. The established independent theatre groups did not participate in the event. In the article, it is argued that this reluctance can be explained by conflicting views on the political ‘we’.","PeriodicalId":53807,"journal":{"name":"Nordic Theatre Studies","volume":"63 1","pages":"82-98"},"PeriodicalIF":0.3,"publicationDate":"2020-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85577311","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：