Abstract:This article examines the performance of history in three exhibitions dealing with eighteenth-century libertine desire and sensual rococo art. Curatorial choices discipline the erotic subject matter in order to minimize potentially embarrassing affective responses from spectators, encouraging distanced intellectual responses instead. Yinka Shonibare's Jardin d'amour engages replay as adaptation, staging paintings by Fragonard as sculptures while offering critical difference that may inspire reflection on colonialism. Éros au secret presents the Bibliothèque Nationale's "Enfer" collection, deploying replay as a changed perspective on pornographic materials. Replay functions as palimpsest in Anish Kapoor's Dirty Corner, with vandalism disciplining mixed messages about Marie-Antoinette's sexuality.
摘要：本文考察了历史在三个展览中的表现，这三个展览涉及18世纪的放荡欲望和感性洛可可艺术。策展人的选择对色情主题进行了约束，以尽量减少观众潜在的尴尬情感反应，而鼓励远离理智的反应。Yinka Shonibare的《Jardin d'amour》将重播作为改编作品，将Fragonard的画作作为雕塑进行展示，同时提供可能激发对殖民主义反思的批判性差异。Éros au secret展示了国家图书馆的“Enfer”系列，将重播作为对色情材料的一种改变的视角。回放在阿尼什·卡普尔的《肮脏的角落》中起到了重写的作用，故意破坏行为规范了关于玛丽·安托瓦内特性取向的混杂信息。
{"title":"Discipline and Display: Replaying Libertine Sexualities and Rococo Aesthetics in Twenty-First-Century Paris","authors":"Daniel Smith","doi":"10.1353/esp.2022.0016","DOIUrl":"https://doi.org/10.1353/esp.2022.0016","url":null,"abstract":"Abstract:This article examines the performance of history in three exhibitions dealing with eighteenth-century libertine desire and sensual rococo art. Curatorial choices discipline the erotic subject matter in order to minimize potentially embarrassing affective responses from spectators, encouraging distanced intellectual responses instead. Yinka Shonibare's Jardin d'amour engages replay as adaptation, staging paintings by Fragonard as sculptures while offering critical difference that may inspire reflection on colonialism. Éros au secret presents the Bibliothèque Nationale's \"Enfer\" collection, deploying replay as a changed perspective on pornographic materials. Replay functions as palimpsest in Anish Kapoor's Dirty Corner, with vandalism disciplining mixed messages about Marie-Antoinette's sexuality.","PeriodicalId":54063,"journal":{"name":"ESPRIT CREATEUR","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43511835","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article looks at a novel digital format for historical-literary research: executable rules for a computer-based interactive social simulation. This kind of historical writing imposes a different set of evaluative criteria on its intended outcomes, which share similar ambitions with the classical humanities essay but whose mode of consumption is closer to that of video games. In this context, play emerges as a humanities method rather than an object of study. Inasmuch as user performance determines the progression of the narrative, iterability becomes a crucial feature of 'reading' interactive simulations whose full expressivity can only be captured through replay.
{"title":"Game Never Over: Replaying History in Interactive Digital Simulation","authors":"Jeffrey Leichman","doi":"10.1353/esp.2022.0014","DOIUrl":"https://doi.org/10.1353/esp.2022.0014","url":null,"abstract":"Abstract:This article looks at a novel digital format for historical-literary research: executable rules for a computer-based interactive social simulation. This kind of historical writing imposes a different set of evaluative criteria on its intended outcomes, which share similar ambitions with the classical humanities essay but whose mode of consumption is closer to that of video games. In this context, play emerges as a humanities method rather than an object of study. Inasmuch as user performance determines the progression of the narrative, iterability becomes a crucial feature of 'reading' interactive simulations whose full expressivity can only be captured through replay.","PeriodicalId":54063,"journal":{"name":"ESPRIT CREATEUR","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48660044","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Cet article s'inscrit dans la réflexion contemporaine sur la fécondité heuristique et pédagogique de la pratique théâtrale pour la réflexion et l'enseignement sur les théâtres anciens. Il compare deux approches de cette articulation entre recherche et création: l'interprétation historiquement informée et celle qu'il désigne comme une "dramaturgie historique appliquée." Alors que la première, dans une démarche archéologique, prend pour objet les techniques et les conditions matérielles de la représentation, la seconde vise l'actualisation de la dimension immatérielle des spectacles du passé – leurs significations et leurs effets dans le temps et la société où ils ont pris naissance.
{"title":"Des formes fossilisées du temps : Retour sur des expériences de recherche-création","authors":"C. Bouteillé, Tiphaine Karsenti","doi":"10.1353/esp.2022.0015","DOIUrl":"https://doi.org/10.1353/esp.2022.0015","url":null,"abstract":"Abstract:Cet article s'inscrit dans la réflexion contemporaine sur la fécondité heuristique et pédagogique de la pratique théâtrale pour la réflexion et l'enseignement sur les théâtres anciens. Il compare deux approches de cette articulation entre recherche et création: l'interprétation historiquement informée et celle qu'il désigne comme une \"dramaturgie historique appliquée.\" Alors que la première, dans une démarche archéologique, prend pour objet les techniques et les conditions matérielles de la représentation, la seconde vise l'actualisation de la dimension immatérielle des spectacles du passé – leurs significations et leurs effets dans le temps et la société où ils ont pris naissance.","PeriodicalId":54063,"journal":{"name":"ESPRIT CREATEUR","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48043459","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This wide-ranging interview with Lucie Tiberghien, Founding Artistic Director of Molière in the Park, covers topics including: Tiberghien's interest in Brooklyn as a site of production and performance for the theatre organization; strategies to overcome the challenges raised by the Covid-19 pandemic – particularly the move to an online platform – and how this shift to the digital led to new ways of thinking about theatre publics, performance, and the making of theatre; the question of representation in casting; and how Molière in the Park makes anti-racist and inclusive theatre with plays written during the early modern period.
{"title":"\"The Lens of Now\": Interview with Lucie Tiberghien, Founding Artistic Director of Molière in the Park","authors":"Annelle Curulla, M. Meere","doi":"10.1353/esp.2022.0021","DOIUrl":"https://doi.org/10.1353/esp.2022.0021","url":null,"abstract":"Abstract:This wide-ranging interview with Lucie Tiberghien, Founding Artistic Director of Molière in the Park, covers topics including: Tiberghien's interest in Brooklyn as a site of production and performance for the theatre organization; strategies to overcome the challenges raised by the Covid-19 pandemic – particularly the move to an online platform – and how this shift to the digital led to new ways of thinking about theatre publics, performance, and the making of theatre; the question of representation in casting; and how Molière in the Park makes anti-racist and inclusive theatre with plays written during the early modern period.","PeriodicalId":54063,"journal":{"name":"ESPRIT CREATEUR","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42366191","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article examines how Molière's Le Tartuffe has been reimagined for the British stage in recent years. Gérald Garutti's production using Christopher Hampton's translation (for the West End in 2017), Anil Gupta and Richard Pinto's version (for The Birmingham Repertory theatre and The Royal Shakespeare Company in 2018), and John Donnelly's new version (for the National Theatre in 2019) testify to the play's popularity in a world dominated by fake news and mendacious leaders. I examine the extent to which the prestige and polemical force of the French version are captured and whether, in the process of transformation, something altogether different emerges. I underline how rewriting and transformation are fundamental concepts for understanding how Molière changed his original 1664 text.
{"title":"Tartuffe in the Post-Truth Era","authors":"Emilia Wilton-Godberfforde","doi":"10.1353/esp.2022.0020","DOIUrl":"https://doi.org/10.1353/esp.2022.0020","url":null,"abstract":"Abstract:This article examines how Molière's Le Tartuffe has been reimagined for the British stage in recent years. Gérald Garutti's production using Christopher Hampton's translation (for the West End in 2017), Anil Gupta and Richard Pinto's version (for The Birmingham Repertory theatre and The Royal Shakespeare Company in 2018), and John Donnelly's new version (for the National Theatre in 2019) testify to the play's popularity in a world dominated by fake news and mendacious leaders. I examine the extent to which the prestige and polemical force of the French version are captured and whether, in the process of transformation, something altogether different emerges. I underline how rewriting and transformation are fundamental concepts for understanding how Molière changed his original 1664 text.","PeriodicalId":54063,"journal":{"name":"ESPRIT CREATEUR","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45665980","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:What if Jocasta was not simply effaced at the end of the Oedipus play but developed as an icon of the persistent intersection of violence and motherhood in war time? What would that do to the taboo of Jocasta's incest and the horror of how that taboo lives on in her children? This article argues that through the concepts of replay and resonance, two Oedipal dramas (Pierre Corneille's 1659 Œdipe and Wajdi Mouawad's 2003 Incendies), separated by some three-hundred years, ask the audience to listen again to past traumas, to build on them and reframe them within new socio-political contexts.
{"title":"Replay and Resonance: Listening to Jocasta in Œdipe (1659, Corneille) and Incendies (2003, Mouawad)","authors":"Alison Calhoun","doi":"10.1353/esp.2022.0018","DOIUrl":"https://doi.org/10.1353/esp.2022.0018","url":null,"abstract":"Abstract:What if Jocasta was not simply effaced at the end of the Oedipus play but developed as an icon of the persistent intersection of violence and motherhood in war time? What would that do to the taboo of Jocasta's incest and the horror of how that taboo lives on in her children? This article argues that through the concepts of replay and resonance, two Oedipal dramas (Pierre Corneille's 1659 Œdipe and Wajdi Mouawad's 2003 Incendies), separated by some three-hundred years, ask the audience to listen again to past traumas, to build on them and reframe them within new socio-political contexts.","PeriodicalId":54063,"journal":{"name":"ESPRIT CREATEUR","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47788663","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article examines how four twenty-first-century productions of Molière's Le Festin de Pierre play with its infamous protagonist, Dom Juan. After exploring the historical context in which the play was written and performed in 1665, including its nearly immediate censorship by royal authorities, the study analyzes each contemporary production in turn, highlighting the common themes among them, sexual violence and obsession, which align with the prevailing conceptions of the archetype perpetuated by different authors before and since Molière's version. The article concludes with an investigation of how these replays deemphasize the aspects of Molière's play that question faith and religion, commercial enterprise, and the split between moral and economic values.
{"title":"Staging Dom Juan: How Contemporary Performance Practices Play with the Player","authors":"Clara McBride","doi":"10.1353/esp.2022.0019","DOIUrl":"https://doi.org/10.1353/esp.2022.0019","url":null,"abstract":"Abstract:This article examines how four twenty-first-century productions of Molière's Le Festin de Pierre play with its infamous protagonist, Dom Juan. After exploring the historical context in which the play was written and performed in 1665, including its nearly immediate censorship by royal authorities, the study analyzes each contemporary production in turn, highlighting the common themes among them, sexual violence and obsession, which align with the prevailing conceptions of the archetype perpetuated by different authors before and since Molière's version. The article concludes with an investigation of how these replays deemphasize the aspects of Molière's play that question faith and religion, commercial enterprise, and the split between moral and economic values.","PeriodicalId":54063,"journal":{"name":"ESPRIT CREATEUR","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42928387","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Whereas the scholarship on the Martinican writer focuses on his theoretical writings, this article illuminates Édouard Glissant's theatre practice, an important aspect of his work as director of the Institut Martiniquais d'Études. With his schoolteachers, Glissant devised an interactive play, Histoire de nègre, and toured it throughout Martinique in 1971. In contrast with the French history taught in public schools, the play enacted a Caribbean-centered, composite tale of black histories. Placing Glissant's activism in dialogue with his writings on history, theatre, and creolization, and our contemporary efforts to translate and restage this play, I put forth an understanding of Glissant's decolonial theatre practice as a constantly renewing process of restaging and reflecting on histories of (neo)colonial oppression and resistance in disjointed time, for the sake of a co-created justice-oriented future.
{"title":"Édouard Glissant's Decolonial Theatre Practice: Histoire de nègre (Tale of Black Histories)","authors":"Emily Sahakian","doi":"10.1353/esp.2022.0011","DOIUrl":"https://doi.org/10.1353/esp.2022.0011","url":null,"abstract":"Abstract:Whereas the scholarship on the Martinican writer focuses on his theoretical writings, this article illuminates Édouard Glissant's theatre practice, an important aspect of his work as director of the Institut Martiniquais d'Études. With his schoolteachers, Glissant devised an interactive play, Histoire de nègre, and toured it throughout Martinique in 1971. In contrast with the French history taught in public schools, the play enacted a Caribbean-centered, composite tale of black histories. Placing Glissant's activism in dialogue with his writings on history, theatre, and creolization, and our contemporary efforts to translate and restage this play, I put forth an understanding of Glissant's decolonial theatre practice as a constantly renewing process of restaging and reflecting on histories of (neo)colonial oppression and resistance in disjointed time, for the sake of a co-created justice-oriented future.","PeriodicalId":54063,"journal":{"name":"ESPRIT CREATEUR","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46092179","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:A key essay in the volume Les années 10, Nathalie Quintane's "Why Doesn't the Radical Left Read Literature?" assesses the political potential of contemporary literature to reach the public. This translation brings Quintane's questioning of literature's capacities and relevancy to the radical left into English. Blending theoretical and literary prose, Quintane offers ways to think through modes of poetic action that would act "for real" in our epoch.
{"title":"Why Doesn't the Radical Left Read Literature?","authors":"Nathalie Quintane","doi":"10.1353/esp.2022.0008","DOIUrl":"https://doi.org/10.1353/esp.2022.0008","url":null,"abstract":"Abstract:A key essay in the volume Les années 10, Nathalie Quintane's \"Why Doesn't the Radical Left Read Literature?\" assesses the political potential of contemporary literature to reach the public. This translation brings Quintane's questioning of literature's capacities and relevancy to the radical left into English. Blending theoretical and literary prose, Quintane offers ways to think through modes of poetic action that would act \"for real\" in our epoch.","PeriodicalId":54063,"journal":{"name":"ESPRIT CREATEUR","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48950725","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Cet article traitant des pratiques poétiques récupérant des contenus générés par les utilisateurs (CGU), s'interroge sur un potentiel "inapproprié" de cette appropriation. Nous proposons de dépasser une conception courante des réseaux socionumériques comme "espace public" lui préférant celle d'espace "corporate" qui permet de mettre en avant la privatisation des contenus au profit d'entreprises américaines. Les pratiques poétiques de déplacement deviennent alors des "republications" qui ne peuvent se faire sans certaines précautions éthiques. Nous utilisons les travaux d'Axel Honneth pour nous interroger sur la façon de republier ces contenus de manière éthique.
{"title":"Inapproprié de l'appropriation : Poétique de l'espace corporate","authors":"A. Deneuville","doi":"10.1353/esp.2022.0005","DOIUrl":"https://doi.org/10.1353/esp.2022.0005","url":null,"abstract":"Abstract:Cet article traitant des pratiques poétiques récupérant des contenus générés par les utilisateurs (CGU), s'interroge sur un potentiel \"inapproprié\" de cette appropriation. Nous proposons de dépasser une conception courante des réseaux socionumériques comme \"espace public\" lui préférant celle d'espace \"corporate\" qui permet de mettre en avant la privatisation des contenus au profit d'entreprises américaines. Les pratiques poétiques de déplacement deviennent alors des \"republications\" qui ne peuvent se faire sans certaines précautions éthiques. Nous utilisons les travaux d'Axel Honneth pour nous interroger sur la façon de republier ces contenus de manière éthique.","PeriodicalId":54063,"journal":{"name":"ESPRIT CREATEUR","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49333251","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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