绩效与权利

IF 0.3 3区 艺术学 0 THEATER Studies in Theatre and Performance Pub Date : 2021-09-02 DOI:10.1080/14682761.2021.1974674
P. de Senna, James Hudson
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引用次数: 0

摘要

戏剧和表演学术已经将戏剧的政治维度详尽地理论化:它的策略、能力和物质性,以及它作为一个与现有假设和价值观发生冲突的场所的内在潜力,被反复强调。然而,尽管最近右翼民族主义在全球范围内的兴起已经从不同的角度和许多学科(社会学、媒体研究、国际关系、经济学和文化研究)进行了分析,但迄今为止,很少有人对戏剧和表演与这些反动力量之间的关系给予实质性的关注,这些反动力量往往被自己呈现和包装为与自由主义主流共识相冲突。虽然政治戏剧的学术研究承认,通过形式和内容的结合,有些戏剧和表演可能是反动的,但相对而言,最近的研究很少对这一概念进行持续的质疑,从它的角度审视具体的作品,或详细分析其运作机制。这期特刊主张对右翼和反动意识形态力量在戏剧和表演方面的运作进行学术评价,以及它们与“主流”和“自由”概念的融合,对右翼的表演吸引力、其策略和诡计进行批判性评价。在遥远的过去,即2018年底,我们开始将对政治力量平衡的欣赏置于一个分析框架中,该框架涉及对右翼政治的表达方式、表演维度和情感能力的新理解,因为右翼政治表现在全球戏剧、表演和表演文化中,通常被纳入资本主义价值体系。我们试图反思左翼失败的地方:社会自由主义艺术家和戏剧制作人如何被纳入右翼,资本主义的生产,展览和消费模式,在场地和环境中呈现所谓的“激进”作品,并利用从根本上排他性的形式,因此绘制了一个不仅在形式和内容方面,而且在背景方面可能被视为反动的领域。我们问戏剧和表演在哪些方面表面上挪用了右翼话语来批评它,同时通过模仿、模仿和过度认同等形式为反动观点提供了一个平台。不可避免地,从提出一个特定主题的特刊到最终出版之间的一段时间导致文章讨论的世界和它们出现的世界之间存在某种差异。在这种情况下,
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Performance and the Right
Theatre and performance scholarship has exhaustively theorised the political dimensions of drama: its strategies, capacities, and materiality, with its inherent potential as a site of collision with existing assumptions and values being repeatedly emphasised. Yet, while the recent rise in right-wing nationalisms across the globe has been analysed from a variety of perspectives, and by a number of disciplines – sociology, media studies, international relations, economics, and cultural studies – little substantive attention has heretofore been given to the relationships between theatre and performance and these reactionary forces, which are often themselves presented and packaged as colliding with a liberal, mainstream consensus. And while scholarship on political theatre acknowledges that there are plays and performances that may be reactionary through a combination of form and content, comparatively little recent work has treated this notion to sustained interrogation, examined specific work in the light of it, or analysed the mechanics of its functioning in detail. This special issue stakes a claim for a scholarly appreciation of the operation of right-wing and reactionary ideological forces in relation to theatre and performance, as well as their imbrication with the very notions of ‘mainstream’ and ‘liberal’, articulating a critical appraisal of the performative appeal of the right, its strategies and subterfuges. We had set out, in the remote past that was late 2018, to situate an appreciation of the balance of political forces within an analytical framework broaching new understandings of the modes of expression, performative dimensions and affective capacities of rightwing politics as it is manifested in global theatrical, performance and performative cultures, often subsumed within capitalist value-systems. We sought to reflect on where the left had failed: how socially liberal artists and theatre makers have been incorporated into right-wing, capitalist modes of production, exhibition and consumption, presenting supposedly ‘radical’ work in venues and environments, and making use of forms that are fundamentally exclusionary, therefore mapping a terrain in which the reactionary may be perceived not only in terms of form and content, but also context. And we asked in which ways have theatre and performance ostensibly appropriated right-wing discourse in order to critique it, while at the same time offering a platform for reactionary views, through forms like parody, pastiche and overidentification. Inevitably, the period of time that elapses between proposing a special issue on a particular topic and its final publication results in something of a disparity between the world that the articles discuss and the world in which they appear. In this instance,
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来源期刊
CiteScore
0.60
自引率
33.30%
发文量
11
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