Performativity and the historical body: Detecting performance through the archived costume
Performativity and the historical body: Detecting performance through the archived costume
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表演性和历史身体：通过存档的服装检测表演
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发表时间：
2013
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通讯作者：
Donatella Barbieri
中科院分区：
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作者：
Donatella Barbieri
本文将戏服这个几乎不存在的戏剧研究领域定位为研究的中心，从一个新的角度来看待历史表演。它以维多利亚时代的小丑服装为重点，以查理·基思（1836-1895）所穿的夹克为例。它提出纯粹基于文本的史学忽略了由表演背景塑造的材料服装，并且可以说是塑造了表演本身。本文提出了一种基于分析服装作为一种材料，表演对象的调查方法，以开始定义其自身学科的历史，远离它目前所占据的边缘。它的美学通过在社会政治、经济和文化背景下的表演而具体化。在设计元素中，这些体现的美学调解了表演者和观众之间的界面。通过这一点，体现在服装中的某些思想谱系的持久性被揭示为在特定表演实践的生存中隐含的工具。
ABSTRACT This article locates costume, an almost non-existent area of theatre studies scholarship, at the centre of enquiry as a new perspective from which historical performance can be viewed. Focusing on Victorian clown costume, it case studies the jacket worn by Charlie Keith (1836–1895). It proposes that purely text-based historiography overlooks the material costume, shaped by the performance context, and that arguably shapes the performance itself. This article proposes a methodology of enquiry based on analysing costume as a material, performative object, to begin to define the history of its own discipline away from the margins it currently occupies. Its aesthetics materialize through performance within a socio-political, economical and cultural context. Recognizably codified in elements of design, these embodied aesthetics mediate the interface between performer and audience. Through this, the persistence of certain genealogies of ideas embodied in costume is revealed as implicitly instrumental in the survival of specific performance practices.