Going beyond the guerre des mémoires in theatrical representations of the Algerian War
Going beyond the guerre des mémoires in theatrical representations of the Algerian War
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阿尔及利亚战争的戏剧表现超越了记忆中的战争
DOI：
10.1080/09639489.2023.2265859
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发表时间：
2023
影响因子：
0.3
通讯作者：
Barclay F
中科院分区：
文献类型：
--
作者：
Barclay F
本文探讨了定义了围绕阿尔及利亚战争的纪念景观的“战争记忆”，并看到它陷入了本杰明·斯托拉所说的“unesurenchèrevictaire”的竞争性记忆动态中。报告认为，自 2012 年独立 50 周年以来，出现了打破僵局的尝试迹象。本文借鉴了雅克·朗西埃、香塔尔·莫菲和安娜·森托·布尔的作品，探讨了最近的两部戏剧，它们采用了对比的方法来表现战争中相互冲突的经历。《烟火重演》以兰斯主义思想为特色，强调相互冲突的经历的多样性，并通过疏远技巧来打断观众的同理心，这些技巧使演员与角色脱离，推迟同理心接触，直到战后经历变得完全复杂。可用。相比之下，《Les Pieds tanqués》致力于在观众和角色之间建立一种协约，不仅强调分歧，而且强调将来自不同背景的主角团结在一起的文化和幽默。
This article examines the ‘guerre des mémoires’ that has defined the memorial landscape surrounding the Algerian War and seen it mired it in a competitive memory dynamic that Benjamin Stora terms ‘une surenchère victimaire’. It argues that since the fiftieth anniversary of independence in 2012 there are signs of attempts to move beyond the impasse. Drawing on the work of Jacques Rancière, Chantal Mouffe and Anna Cento Bull, the article examines two recent plays that adopt contrasting approaches to the aim of representing conflicting experiences of the war.Et le cœur fume encorefeatures elements of Rancerian thought, emphasising the multiplicity of conflicting experiences, and interrupting viewer empathy through distancing techniques that disengage actor from character to defer empathetic engagement until the full complexity of post-war experience is made available. In contrast,Les Pieds tanquésworks to create an entente between audience and characters that emphasises not only division but also the culture and humour that unites protagonists from different backgrounds.