{"title":"全球想象和大象般的技巧","authors":"Daniel J. Ruppel","doi":"10.1017/S1054204322000582","DOIUrl":null,"url":null,"abstract":"Labyrinthe Royal de l’Hercule Gaulois triomphant (Avignon, 1601) documents a ceremonial performance that happens more in the time of reading than a historical moment. Focusing on discrepancies between a vivid image of elephants and a description attesting that there were none reveals how this document makes the festival “present” by suspending the reader between allegory and history, representation and performance, and most importantly, the presence and(/as) absence of racialized “Mores” driving the fictitious pachyderms.","PeriodicalId":46402,"journal":{"name":"TDR-The Drama Review-The Journal of Performance Studies","volume":"66 1","pages":"83 - 108"},"PeriodicalIF":0.4000,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Global Imaginaries and Elephantine Artifice\",\"authors\":\"Daniel J. Ruppel\",\"doi\":\"10.1017/S1054204322000582\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Labyrinthe Royal de l’Hercule Gaulois triomphant (Avignon, 1601) documents a ceremonial performance that happens more in the time of reading than a historical moment. Focusing on discrepancies between a vivid image of elephants and a description attesting that there were none reveals how this document makes the festival “present” by suspending the reader between allegory and history, representation and performance, and most importantly, the presence and(/as) absence of racialized “Mores” driving the fictitious pachyderms.\",\"PeriodicalId\":46402,\"journal\":{\"name\":\"TDR-The Drama Review-The Journal of Performance Studies\",\"volume\":\"66 1\",\"pages\":\"83 - 108\"},\"PeriodicalIF\":0.4000,\"publicationDate\":\"2022-12-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"TDR-The Drama Review-The Journal of Performance Studies\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1017/S1054204322000582\",\"RegionNum\":2,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"THEATER\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"TDR-The Drama Review-The Journal of Performance Studies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1017/S1054204322000582","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"THEATER","Score":null,"Total":0}
Labyrinthe Royal de l’Hercule Gaulois triomphant (Avignon, 1601) documents a ceremonial performance that happens more in the time of reading than a historical moment. Focusing on discrepancies between a vivid image of elephants and a description attesting that there were none reveals how this document makes the festival “present” by suspending the reader between allegory and history, representation and performance, and most importantly, the presence and(/as) absence of racialized “Mores” driving the fictitious pachyderms.
期刊介绍：
TDR traces the broad spectrum of performances, studying performances in their aesthetic, social, economic, and political contexts. With an emphasis on experimental, avant-garde, intercultural, and interdisciplinary performance, TDR covers performance art, theatre, dance, music, visual art, popular entertainments, media, sports, rituals, and the performance in and of politics and everyday life. Each fully illustrated issue includes: -Articles on theatre, dance, popular entertainments, rituals, politics, and social life: the whole broad spectrum of performance -Original contributions to performance theory -Editorial comments, critical analysis, and book reviews -Articles by social scientists, cultural commentators, theorists, artists, scholars, and critics -Interviews with performers, choreographers, directors, composers, and performance artists -Texts of performance works -Translations of important new and decisive archival writings on performance
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