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Effigies of return in Spanish Republican exile theatre and performance cultures

机译:西班牙共和党流放剧院和表演文化中的回归肖像

摘要

This chapter deals with a particular stage of exile, that of return, ranging from the ways in which theatre was used to deal with its perceived impossibility, through theatrical responses to the experience of repatriation and the journey home, to recent reception and re-presentation of exile theatre on the Spanish stage. However, instead of just seeing theatre as a mode of representing exile and return, as in the case studies traced earlier by José Sainz and Francisca Montiel, there will be greater focus here on the way in which it presents, embodies and performs different stages of exile, constructing a space of encounter in which the limits of experience are inscribed and incorporated into the bodies of actors negotiating a theatre space that is somehow shared with an audience. Thus, though the material discussed will contribute to the study of how exile has been represented in literature, art and film, reflecting on the epistemological and ontological implications of these representations, it will also provide grounds on which to interrogate the assumptions underlying such an approach: namely, that literature, art and film (and within this theatre as 'literary' or 'dramatic' text) can only aim to represent, that their only status is as attempted 'places of memory' that might be considered to stand for a particular individual or group experience and, if recovered from the archive, stand in either metaphorically or synecdochically for national history or memory (Cándida Smith 2002: 11). The examples studied here could, on the whole, be approached from such a perspective, and have been to varying degrees by other critics. However, these cases can also be treated as documentary traces of the performance of exile and return, through focus on their status as orature and on their performativity, on the way in which they open a space for remembrance, providing windows onto environments of memory.
机译:本章涉及放逐的特定阶段,即返回的阶段,范围从剧院用来处理其可能的感觉的方式,到对遣返和返乡经历的戏剧性回应,到最近的接待和重新演出西班牙舞台上的放逐剧场。但是,不仅仅是像乔塞·塞恩斯(JoséSainz)和弗朗西斯·蒙蒂尔(Francisca Montiel)早先的案例研究那样,将剧院视为代表流亡和回归的一种方式,这里还将更加关注剧院的呈现,体现和执行的不同阶段流放,建立了一个遭遇的空间,在其中,经验的界限被刻画出来,并纳入了与剧院空间进行谈判的演员的身体,并以某种方式与观众共享。因此,尽管所讨论的材料将有助于研究文学,艺术和电影中流放的表现方式,反映出这些表现形式的认识论和本体论含义,但也将为质疑这种方法所基于的假设提供依据。 :即文学,艺术和电影(在该剧院内为“文学”或“戏剧性”文本)只能旨在表示,它们的唯一地位是试图的“记忆之地”,可能被认为代表着特定的个人或团体经历,如果从档案中找回,则可以隐喻地或象征性地代表国家历史或记忆(CándidaSmith 2002:11)。总体而言,可以从这样一个角度来研究此处研究的示例,并且其他批评家在不同程度上也采用了这些示例。但是,这些案例也可以被视为流放和回归表现的文献痕迹,方法是着重于它们的口述状态和性能,以它们为纪念开辟空间的方式,为人们提供记忆环境的窗口。

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    Buffery Helena;

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  • 年度 2017
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  • 原文格式 PDF
  • 正文语种 eng
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  • 入库时间 2022-08-20 20:17:16

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