重新社会化空虚的空间:酷儿女权主义表演,戏剧设备及其(后)大流行的认识论

Ulf Otto
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引用次数: 0

摘要

摘要封锁期间暂停运营促进了对表演的新视角:缺席不仅是疫情的决定因素,而且是现代晚期戏剧文化的组成部分。根据女权主义团体Swoosh Lieu对《我们自己的房间》(2021)的封锁表演的描述,展示了当代实践如何在与再生产的社会空间的纠缠中重新定位表演。本文强调了表演艺术所依赖的排斥现实,反对将表演视为一种封闭的参与事件的理论,这种理论基于将社会视为同质微观世界的理想化理念。相反,它需要对组装的经验,更普遍地质疑沿着互动和沟通的路线对性能的思考。它将凯伦·巴拉德的后人类表演性概念应用于戏剧研究,强调了表演在表达世界中的中介作用,并提出将戏剧重新定义为一种认识论工具,以振兴一个强大的戏剧研究计划,重新关注戏剧的社会政治现实。
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Re-socializing emptied spaces: a queer-feminist performance, the theatrical apparatus and its (post)pandemic epistemology
ABSTRACT The suspension of operations during lockdowns facilitated a new perspective on performance: the absent came to appear as a determining factor of not only the pandemic, but became evident as constitutive of late modern theater cultures. Based on a description of the lockdown performance A Room of Our Own (2021) by the feminist collective Swoosh Lieu, it is shown how contemporary practice is relocating performance within its entanglement with the social spaces of reproduction. Emphasizing the realities of exclusion that the performing arts rest upon, the paper argues against a theory of performance as an enclosed event of participation based on an idealized idea of the social as a homogeneous microcosm. It calls instead for an empirics of assembly, and more generally to question a thinking of performance along the lines of interaction and communication. Adopting Karen Barad's concept of posthuman performativity to Theater Studies, it foregrounds the mediating function of performance in its articulation of the world and proposes to reconceptualize theater as an epistemological apparatus to invigorate a strong program of theater studies that refocuses on the socio-political real of theatricality.
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来源期刊
International Journal of Performance Arts and Digital Media
International Journal of Performance Arts and Digital Media Arts and Humanities-Visual Arts and Performing Arts
CiteScore
1.70
自引率
0.00%
发文量
29
期刊最新文献
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