站在诗学、政治和认识论十字路口的仪式和戏剧:Femi Euba(和WS)

Biodun Jeyifo
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引用次数: 0

摘要

摘要:本研究以现代非洲戏剧和尼日利亚剧作家Femi Euba的戏剧为例,回归到世界戏剧学术中戏剧与仪式作为表演形式或模式之间的界限问题。中心论点取决于戏剧和仪式的成功整合,美学大胆,激进政治和认识论大胆相遇和冲突的十字路口。本研究以暂停仪式不信的概念作为其中心启发式,探讨了剧作家和观众是否有必要相信神和他们的仪式,以便将仪式母题和习语成功或富有成效地与对话戏剧结合起来。作者在欧巴的三部戏剧《魔鬼》、《海湾》和《加布里埃尔之眼》中考察了形式技巧、主题关注和文化位置——非洲/散居。
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Ritual and theatre at the crossroads of poetics, politics and epistemology: Femi Euba (and WS)
ABSTRACT This study returns to the issue in world theatre scholarship of the boundary between theatre and ritual as forms or modes of performance, with reference to modern African drama in general and the dramaturgy of the Nigerian playwright Femi Euba in particular. The central argument hinges on the crossroads at which, for the successful integration of drama and ritual, aesthetic boldness, radical politics, and epistemological daring meet and clash. Deploying the notion of suspension of ritual disbelief as its central heuristic, the study explores the question of whether or not it is necessary for a playwright and her audience to believe in the gods and their rituals for ritual motifs and idioms to be successfully or productively integrated with dialogue drama. The author examines formal technique, thematic concerns, and cultural location – Africa/Diaspora – in three plays by Euba: The Devil, The Gulf, and The Eye of Gabriel.
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CiteScore
0.60
自引率
25.00%
发文量
18
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