The Force that Sustains Theatricality and intermediality in the work of The Wooster Group
The Force that Sustains Theatricality and intermediality in the work of The Wooster Group
复制标题
伍斯特集团作品中维持戏剧性和中间性的力量
DOI：
10.1080/13528165.2019.1641322
复制
发表时间：
2019
影响因子：
0.1
通讯作者：
Erincin S
中科院分区：
文献类型：
--
作者：
Erincin S
伍斯特乐队的表演者通过他们周围的监视器和他们佩戴的入耳式接收器复制胶片上的其他表演者，从而创造出中间作品。伍斯特集团称他们2003年的作品“糟糕的剧院”是“一系列的拟像”--一个没有原作的复制品。事实上，伍斯特乐队的表演者并没有真正抄袭其他表演者。他们正在观看的是一段表演者的录音，这些表演者被转移过来，然后在屏幕上反向翻转。他们的成绩都是复印件，没有原件。尽管表演者在描述他们的技法时经常用“复制”这个词，但他们试图达到的不是精确的复制，而是捕捉表演的灵魂；他们居住在他们复制的图像的精髓中。为了澄清，我建议，例如，当伍斯特乐队的表演者凯特·瓦尔克模仿蕾娜·米雷卡时，她看到自己的形象，并在杰齐·格罗托夫斯基的《阿克卫城》的视频中听到她的声音，她将米雷卡的身体纳入她的感觉器官。Wooster Group方法不仅仅是一种建立乐谱、排练和表演的技术。该公司的作品不仅仅是表现；表演者获得复制材料的力量，与观众建立一种“感性的、直接的、‘现场’交流的关系”(格罗托斯基：19)；也就是现场表演的独特质量和“光环”(本杰明1968)，将抵制它在这个大规模生产时代的过时。在他们的作品中，戏剧性成为一种力量，使一种新的现场表演成为可能，一种区别于所有其他艺术的表演。我还认为，通过使用数字媒体来实现如此高的戏剧性，伍斯特集团使现场直播、档案和记忆的意义复杂化。
The Wooster Group performers create intermedial works by copying other performers on film through the aid of the monitors that are situated around them and the in-ear receivers they wear. The Wooster Group calls their 2003 productionPoor Theatre‘a series of simulacra’ – a copy without an original. Indeed, The Wooster Group performers are not really copying other performers. What they are looking at arerecordingsof performers that are transferred then flipped in reverse on the screen. Their scores are copies without originals. Even though the performers often use the word ‘copy’ in describing their technique, what they are trying to achieve is not an exact copy but to capture the soul of the performances; they inhabit the essences of the images they copy. To clarify, I am suggesting that, for example, when The Wooster Group performer Kate Valk copies Rena Mirecka as she sees her image and hears her voice in a video of Jerzy Grotowski’sAkropolis, she incorporates Mirecka’s body into her sensorium. The Wooster Group method is more than a technique for building scores, rehearsing, and performing. The company’s works are not mere representations; the performers acquire the power of the copied material to build a “relationship of perceptual, direct, ‘live’ communion”(Grotowski :19) with the spectators; that is, the unique quality and “aura”(Benjamin 1968) of live performance that will resist its obsolescence in this age of mass production. In their work, theatricality becomes a force that enables a new kind of live performance, one that differentiates it from all of the other arts. I also argue that by involving digital media to achieve such heightened theatricality, The Wooster Group complicates the meaning of live, archival, and memory.