移动的乐趣:通过弗拉门戈身体来绘制空间

IF 0.3 3区 艺术学 0 THEATER Studies in Theatre and Performance Pub Date : 2021-04-09 DOI:10.1080/14682761.2021.1913322
Miriana Lausic
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引用次数: 0

摘要

文摘本文发展弗拉门戈的分析性能和安达卢西亚的宗教游行通过部署和扩展jean - luc南希的图的概念,使用广泛的人类学领域的研究结果完成作者在西班牙南部的罗马社区。这篇文章展示了吉塔诺的身体是如何成为绘画的主体的,在南希的意义上,通过追踪的表现。这种轨迹的逻辑需要时间和空间的原始交融,以及有生命和无生命的结构重叠。这种追踪远非纯粹的抽象,而是被解读为吉塔诺社区本身精心设计的自画像。作者认为,表演者和民族志研究者在一个共同的扩展空间中相遇和相交。从这个意义上说,对弗拉门戈尸体的追踪与自我民族志写作的表演维度是平行的。
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The pleasure in moving: drawing the space through flamenco bodies
ABSTRACT This article develops an analysis of flamenco performance and religious processions in Andalusia by deploying and extending Jean-Luc Nancy’s concept of drawing, using the results of extensive ethnographic field research completed by the author among the Roma community in southern Spain. The article demonstrates how the Gitano body becomes a corpus of drawing, in Nancy’s sense, through a performance of tracing. The logic of this trace entails an originary intermingling of time and space, as well as a structural overlapping of the animate and the inanimate. Far from being purely abstract, such tracing is read as the choreographed self-portraiture of the Gitano community itself. The author argues that the performers and ethnographic researcher meet and intersect in a shared space of extension. In this sense, the tracing of flamenco bodies parallels the performative dimension of auto-ethnographic writing.
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CiteScore
0.60
自引率
33.30%
发文量
11
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