Learning to Write Spaces
Learning to Write Spaces
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学习书写空格
DOI：
10.1080/10486801.2013.777054
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发表时间：
2013
影响因子：
0.3
通讯作者：
Turner C
中科院分区：
文献类型：
--
作者：
Turner C
人们经常向新剧作家建议，你必须知道规则才能打破它们。这一建议基于这样一种观点，即戏剧观众对语言在戏剧中的作用有着一定的期望。然而，可以说，不同的观众带来了不同的期望，戏剧正越来越多地进入新的领域和学科合作，其中戏剧性的“规则”被其他作曲原则污染或取代。我将提出，地点的特殊性不仅是这种情况的症状，而且可能是一种有用的教学工具，有助于促进作家参与到视觉和空间原则的构图。大卫·埃德加有用地阐明了“规则”的意义：“一个人应该知道规则才能打破规则的论点只是故事的一半。剧作家应该知道这些规则，因为它们是观众的财产，是他们努力工作的重要合作伙伴。1观众把他们对戏剧传统的期望和知识带到了剧院，埃德加认为，这些规则可以实现，也可以打破，但不能被忽视。2另一方面，随着戏剧日益成为一种跨学科的形式，戏剧和现场艺术之间的界限经常是模糊的，这种对‘规则’的坚持是有问题的，因为它假设所有的戏剧呈现都植根于戏剧。当代作品的灵感来自概念艺术和生活艺术，戏剧的“规则”可能会被证明具有更有限的相关性，可能有必要参考不同的方法。这些方法可能是附加的，而不是替代原则，扩大了作者可用的作文策略的范围。我自己作为第一个剧作家，然后是表演作家的经历，以及随后在博士后对作家与剧团和表演方法的关系的多样性的研究，让我敏锐地意识到戏剧作家面临的各种可能性--对我来说，这个范围似乎经常是新作家无法企及的。这让我研究了让非常不同的作家参与对话的可能性，每个作家都对对话做出了各自的回应。我的项目《写作空间》(2008)汇集了八位作家，涵盖剧本创作、改编、自传体表演、表演写作、现场表演和社区戏剧。4每位作家主持或进行长达一小时的讨论、研讨会、论文或表演，随后，每位作家贡献一小段剧本供学生表演。5在项目结束时，很明显，文本的绝对多样性，以及每个文本都是为一组
It is frequently suggested to new playwrights that you ‘have to know the rules in order to break them’. This suggestion relies on the idea that theatre audiences share certain expectations of how language works in the theatre. However, it can be argued that different audiences bring different expectations, and that theatre is increasingly entering into new arenas and disciplinary collaborations, where dramatic ‘rules’ are contaminated by, or superseded by other compositional principles. I will propose that site-specificity is not only a symptom of this situation, but may be a useful pedagogical tool in facilitating a writer’s route into engaging with visual and spatial principles of composition. David Edgar usefully clarifies the significance of the ‘rules’:‘the argument that one should know the rules in order to break them is only half the story. Playwrights should know the rules because they are the possession of the audience, their essential partner in the endeavour.’1 The audience brings its expectations and knowledge of dramatic convention to the theatre, and Edgar suggests, these ‘can be fulfilled or broken but not ignored’. 2 On the other hand, as theatre becomes an increasingly interdisciplinary form, where the boundaries between theatre and live art are frequently indistinct, this insistence on ‘the rules’ is problematic where it assumes that all theatrical presentation is rooted in drama. Where contemporary work takes its inspiration from conceptual and live art,‘the rules’ of drama may turn out to have more limited relevance and reference to different approaches may be necessary. These approaches may be additional, rather than substitute principles, expanding the range of compositional strategies available to the writer. My own experience as first playwright, then performance writer, and subsequently in postdoctoral research3 into the diversity of writers’ relationships with ensembles and performance methodologies, made me acutely aware of the range of possibilities open to the theatre writer–a range that seemed to me to be frequently inaccessible to new writers. This led me to research the possibility of bringing very different writers into dialogue, each offering an individual response to that dialogue. My project,‘Writing Space’(2008) brought together eight writers spanning playwriting, adaptation, autobiographical performance, performance writing, sitespecific performance and community theatre. 4 Each writer led or gave an hour-long discussion, workshop, paper or performance and subsequently, each writer contributed a short script for performance by students. 5 At the end of the project, it was apparent that the sheer diversity of the texts, as well as the fact that each was written for a group of
从标志到风景：当代戏剧中的文本
影响因子：
0.1
作者：
Hans
通讯作者：
Hans
黑暗中绊倒：感官知觉的各个方面和罗伯特·威尔逊的“H.G.”装置
影响因子：
0.1
作者：
S. D. Benedetto
通讯作者：
S. D. Benedetto