A Short Disquisition on Anatopia: Rethinking Place and Its Performance
A Short Disquisition on Anatopia: Rethinking Place and Its Performance
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关于Anatopia的简短论文：重新思考场所及其表现
DOI：
10.1080/10486801.2020.1812592
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发表时间：
2020
影响因子：
0.3
通讯作者：
Mackey S
中科院分区：
文献类型：
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作者：
Mackey S
由于与表演场所搏斗了20年，特别是受到最近的思考和实践的启发，我想将场所的表演重新定位为“anatopic实践”，并同时提供“anatopia”作为一个术语来描述场所的当代表现。这种对安纳托利亚的重复有助于重新认识和调和一个临时的地方与当今地缘政治动荡的全球背景。与其将地点假设为有界的、地域性的、同质的，并与流动性和流动性相对立，我主张将地点重新考虑为一种主观体验，将这些潜在的二元位置结合起来。这是一个建设性和积极的重新定位，旨在吸引和加强我们今天居住和思考的方式。在这里，我提出“解剖学”一词，并将其命名为“解剖学实践”，这引起了进一步的争论。通过建议我的表演场所理论现在可以被表述为解剖学表演实践，我既更准确地描述了这种工作，也扩展了它的潜力。正如我在下面解释的那样，“表演场所”可能被认为是特定地点的表演或沉浸式表演。在重新命名实践时，它提供了更多的精确性，意义和意图，并在这样做的过程中，使表演场所与社会参与和应用剧院紧密结合。此外，这样的重复会引起该领域其他人的进一步询问，
Arising from wrestling with performing place for 20 years, and particularly prompted by recent thinking and practice, I want to reposition the performance of place as ‘anatopic practice’and, concomitantly, to offer ‘anatopia’as a term to describe contemporary manifestations of place. This iteration of anatopia helps reconceive and reconcile a temporary locality of place with today’s global context of geopolitical turbulence. Rather than place being assumed as bounded, territorial, and homogenous and set in opposition to a fluid and liquid mobility, I am advocating a reconsideration of place as a subjective experience that conjoins these potential binary positions. A constructive and positive repositioning, this is intended to have traction for embracing and enhancing the way we inhabit and think about place today. Naming and claiming the term anatopia here invites further debate as does renaming performing place practices as anatopic practice.By suggesting my theories of performing place might now be articulated as anatopic performance practices, I am both more precisely describing such work as well as expanding its potential. As I explain below,‘performing place’might be perceived as sitespecific performance or immersive performance, for example. In renaming the practice, it offers more precision, meaning and intention and, in doing so, aligns performing place firmly with socially engaged and applied theatres. In addition, such an iteration invites further interrogation by others in this field,