SEMESTER The labour of attention
SEMESTER The labour of attention
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学期 注意力的劳动
DOI：
10.1080/13528165.2019.1641329
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发表时间：
2019
影响因子：
0.1
通讯作者：
Georgelou K
中科院分区：
文献类型：
--
作者：
Georgelou K
本文从戏剧性和注意力的双重视角分析了比利·穆兰尼的戏剧作品《SEMESTER》。对于SEMESTER，Mullaney正在记忆一学期的量子力学讲座，然后进行表演。虽然他不知道量子力学，但他已经设法以一种非常有纪律的方式记住了它，他称之为“舞蹈式学习”。本文认为，SEMESTER中产生了有关观众人数、上座率和戏剧价值的问题。更具体地说，它显示了戏剧性，理解为戏剧，夸张和戏剧的基本机制，是什么让观众在座位上观看和Mullaney提供讲座。戏剧性在这里被认为是与SEMESTER如何同时和过度地要求以及破坏注意力的吸收模式有关的，这导致了一个注意和取代注意力实践的过程，这些注意力实践习惯于演讲和戏剧环境。因此，戏剧性是通过注意力和吸收的角度进行审查，最后提出作为一种劳动形式，标志着戏剧和出席的价值进行批判性的重新思考。
This article proposes an analysis of Billy Mullaney’s performance SEMESTER, through the dual perspective of theatricality and attention. For SEMESTER, Mullaney is memorizing a semester’s worth of quantum mechanics lectures and then performing them. Although he does not know quantum mechanics, he has managed to memorize it in a very disciplined way, which he calls ‘a choreographic way of learning’. Questions about spectatorship, attendance and the value of theatre are generated in SEMESTER, this article argues. More specifically, it shows how theatricality, understood as the theatrics, exaggerations and basic mechanisms of theatre, is what keeps audiences on their seats watching and Mullaney delivering the lecture. Theatricality is considered here bound to how SEMESTER simultaneously and excessively demands as well as sabotages an absorptive mode of attention, which results in a process of noticing and displacing practices of attention that are habitual to lecture and theatre settings. Theatricality is thus examined through the perspectives of attention and absorption, finally proposed as a form of labour that signals a critical reconsideration of the value of theatre and of attendance as such.