Half-cast: Staging race in British Burma
Half-cast: Staging race in British Burma
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半演员：在英属缅甸举行比赛
DOI：
10.1080/1368879022000032793
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发表时间：
2002
影响因子：
1.3
通讯作者：
P. Edwards
中科院分区：
文献类型：
--
作者：
P. Edwards
最近，黑脸表演在种族建构中的使用以及作为帝王他者的一种工具引起了学术界的广泛关注。这样的表演不仅限于公共领域，还延伸到了儿童托儿所，在19世纪和20世纪初的澳大利亚，在那里，在布莱克费罗玩耍是一项流行的游戏。但它的孪生兄弟，殖民主义的白脸剧院，受到的关注较少。本文以英属缅甸为背景，探讨了白脸剧场在20世纪10年代至40年代的教会学校和殖民实践中所扮演的角色。尽管这篇文章借鉴了经历殖民统治的缅甸人和盎格鲁-缅甸人的作品，但这篇文章在很大程度上依赖于欧洲的描述。因此，它只有一半亮着。我的分析中缺少一个有意义的理解，即缅甸和盎格鲁-缅甸演员如何体验戏剧，并将个人印记和解释借给欧洲剧本和部分，其中他们的主要是欧洲学校教师。在东南亚，那些观看和表演戏剧的人带着一种直截了当的感觉这样做，因为他们在一个道德世界中的共同成员身份，这个世界将所有参与者--赞助商、观众和表演者--联系在一起，创造价值。这种剧场的主要货币不是模仿资本，而是精神或宗教资本。缅甸戏剧或佛陀的“看”艺术(不同于观赏)需要与佛教世界接触，以及演员和观众之间的亲密感。迄今为止，对《帝国》戏剧机制的分析主要集中在东方主义如何在欧洲各国首都上演。通过将聚光灯转移到殖民地的剧院，本文旨在将剧院置于与监狱和博物馆相同的皇家建筑中，与之分享和传递殖民时代的核心空间和种族概念，同时体现等级和监督的新工具主义S。这篇文章首先探讨了欧洲对三种戏剧形式的反应和处方：缅甸戏剧、殖民嘉年华和欧洲娱乐。然后，它考察了缅甸欧亚人口的增长以及种族类别的必然结晶。最后，它分析了欧洲娱乐作为种族差异仪式化和戏剧化的舞台。
The use of blackface performance in the construction of race and as a vehicle of imperial othering has recently drawn much scholarly attention. Such performance was not restricted to the public sphere, but extended to children’s nurseries, where, in nineteenthand early twentieth-century Australia, ‘Playing at Blackfellow’ was a popular game. But its twin, the whiteface theatre of colonialism, has received less attention. Set in British Burma, this paper explores the role of whiteface theatre in missionary schools and colonial practice from the 1910s to the 1940s. Although it draws on the writings of Burmese and Anglo-Burmans who experienced colonial rule, the essay is largely dependent on European accounts. As such, it is only half-lit. Missing from my analysis is a meaningful understanding of how Burmese and Anglo-Burman players experienced theatre and lent individual imprints and interpretations to the European scripts and parts in which they were cast by their predominantly European schoolteachers. Those who ‘watched’ and those who ‘performed’ theatre in Southeast Asia did so with an immediacy born of their shared membership in a moral universe which conjoined all participants—sponsor, audience, and performers—in the making of merit. The primary currency of such theatre was not mimetic capital but spiritual or religious capital. The art of ‘seeing’ (as distinct from spectating) Burmese theatre or phwe required engagement with the Buddhist universe and a sense of intimacy between players and audience. To date, analysis of the ‘theatrical machinery’ of Empire has largely centred on how orientalism played out in European capitals. By shifting the spotlight to theatre in the colonies, this essay aims to situate theatre in the same imperial architecture as prisons and museums, with which it shared and transmitted core colonial concepts of space and race while embodying new instrumentalitie s of hierarchy and surveillance. The essay rst explores European reactions to, and prescriptions for, three forms of theatre: Burmese phwe, colonial carnival, and European Entertainments. It then examines the growth of a Eurasian population in Burma and the corollary crystallisation of racial categories. Finally, it analyses European Entertainments as a staging ground for the ritualisation and dramatisation of racial difference.