塞缪尔·贝克特《那个时代》中的表演与碎片化

IF 0.3 3区 艺术学 0 THEATER Studies in Theatre and Performance Pub Date : 2021-04-19 DOI:10.1080/14682761.2021.1917187
Aténé Mendelyté
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引用次数: 0

摘要

塞缪尔·贝克特的舞台剧《那个时代》对身份和自我的矛盾和解构本质进行了美学探索,其中叙事行为表达和捕捉预先存在的原始身份的能力受到质疑。《时间》暗示不存在这样的核心身份,任何身份都是通过表演和叙述自我而构成的,从而质疑能指和所指的等级关系。因此,在这篇文章中,我将这部戏剧与朱迪思·巴特勒关于表演性、引用性和主体形成的概念一起阅读,以探索《那个时代》的自我构成,并表明贝克特的戏剧及其表演提供了一个完美的例子,用巴特勒的描述来说,叙事如何能够表达其自身的不可能性,即在其构建的那一刻解构自身。我的目的是揭示《那个时代》和巴特勒思想之间的一些关键交集,因为前者可以让人们从美学上体验她的哲学思想,而后者有助于更好地阐明戏剧表演的复杂性。
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Performativity and fragmentation in Samuel Beckettʼs That Time
ABSTRACT Samuel Beckett’s stage play That Time offers an aesthetic exploration of the paradoxical and deconstructive nature of identity and selfhood where the ability of narrative acts to express and capture a preexistent, originary identity is put into question. That Time implies that there is no such core identity and that any identity is constituted by performing and narrating one’s selfhood, thus questioning the hierarchy of the signifier and the signified. In this essay, I therefore read this play alongside Judith Butler’s notions of performativity, citationality, and subject formation in order to explore That Time’s constitution of the self and to show that Beckett’s play and its performance present a perfect instance of how narrative, to use Butler’s description, can bespeak its own impossibility, i.e., to deconstruct itself at the moment of its construction. I aim to reveal some key intersections between That Time and Butler’s thought since the former allows one to aesthetically experience her philosophical ideas and the latter aids in better articulating the complexity of the play’s performance.
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来源期刊
CiteScore
0.60
自引率
33.30%
发文量
11
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