Theatricality A dramatic form of contesting spectatorial codes
Theatricality A dramatic form of contesting spectatorial codes
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戏剧性 一种争夺观众守则的戏剧形式
DOI：
10.1080/13528165.2019.1641326
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发表时间：
2019
影响因子：
0.1
通讯作者：
Petrovic-Lotina G
中科院分区：
文献类型：
--
作者：
Petrovic-Lotina G
本文的目的是设想与戏剧性概念相关的身体，戏剧性被理解为观众和表演代表之间的紧张或戏剧性时刻。在戏剧性的戏剧结构中感知身体意味着挑战主流理论，这些理论消除了观众和表演之间的戏剧时刻。为了证明这一点，我以埃里卡·费舍尔-利希特的身体理论为出发点。我承认其他观众或演员所看到、听到、闻到或感觉到的肢体语言 … 产生可感知的行为模式和行动“(2008年：第153期)。然而，我要批评的是，费舍尔-利希特的理论通过引入振荡的概念，提出了将可感知事物概念化的可能性。对振荡的一个批判性观点是戏剧在表演研究中的回归。一旦每一场表演都是与戏剧有关的，我们就必须认识到，身体是通过表现的表演实践来论述地构建的，因此，它提供了与观众相关的戏剧性时刻。因此，表演机构动员观众正视不同的现实，争夺主导的政治。
The objective of this article is to envisage the body in relation to the notion of theatricality, understood as the moment of tension or drama between the spectator and the performed representation. To perceive the body within the context of a dramatic structure of theatricality means to challenge prevailing theories that eliminate the moment of drama between the spectator and the performance. To justify this, I take Erika Fischer-Lichte's theory of the body as a point of departure. I will acknowledge that ‘[t]he physical articulations which are seen, heard, smelled, or sensed by other spectators or actors … generate perceptible behaviour patterns and actions’ (2008: 153). However, I will criticize the possibility of conceptualizing the perceptible in terms of the 'sheer presence of the body or materiality' that Fischer-Lichte's theory proposes by introducing the notion of oscillation. A critical view on oscillation is the return of drama in performance studies. Once every performance is conceived in relation to drama, we have to recognize that the body is discursively constructed through the performative practice of representing and, consequently, that it provides a dramatic moment of theatricality in relation to the spectator. As such, the performing body mobilizes the spectator to envisage different realities and contest dominant politics.