Plethora and Bare Sufficiency:a new practice for a tragic theatre

过剩与赤足:悲剧戏剧的新实践

• 批准号: AH/G015783/1
• 负责人: Howard Barker
• 金额: $ 31.19万
• 依托单位: UNIVERSITY OF EXETER
• 依托单位国家: 英国
• 项目类别: Fellowship
• 财政年份: 2009
• 资助国家: 英国
• 起止时间: 2009 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FG015783%2F1
• 关键词: Plethora; Bare; Sufficiency; new; practice

For the last thirty or so years I have written, directed and designed plays for live performance. In this time I have developed a form of tragedy I have described as Catastrophic, to distinguish it from certain classical forms. In doing so I have invented and refined speech forms which are distinctive to me, and this process continues. I believe the text to be the first element of all dramatic experience. I also believe the traditional realistic play to be an exhausted form, but that the way to escape this dilemma is not to abandon text but to find new ways with it. In the first place, I wish to know whether speech - which I believe to be an almost plastic, sculptural thing needs to convey meaning, or whether it might be employed to create tensions and ecstasies without bearing specific messages or content. Could a performer utter without - strictly speaking - saying anything? Yet could this audial experience still generate emotion in an audience? Secondly, the converse of this, could a single phrase, or pair of phrases, operate alone to generate emotion - or complexity - by being used rather as a bar of music is?I call the first version 'Plethora', an overwhelming with words spoken by many voices, almost an orchestra of human sounds. And the second I call 'Bare Sufficiency', where the entire scene to be played hangs from a brief concept, or image, or even something banal. With and against this single phrase, the actions of the performers might serve to reveal unexpected meanings. By extending my practice in both directions - towards more (excessively) and towards less, I would hope to demonstrate the possibility of a new life for text in theatre. In order to explore these directions I will write and stage two theatrical productions, one based on Plethora, one on Bare Sufficiency. The production of 'Plethora' will have at its heart linguistic excess, involving both the human voice -- both individual voices and chorus -- and sound (though not in conventional music-form). At the heart of 'Bare Sufficiency' will be linguistic spareness: this will be a piece in which the most strenuous attention is paid to movement and gesture; no improvisation will take place, and discipline will be critical to the outcome. Both plays will involve a combination of professional actors and postgraduate student actors from the Exeter Department and both will culminate in a full production for a public audience. Both productions will then become the subject of a one-day public symposium, resulting in publications In the final phase of the fellowship I will re-work the playscripts for publication and write a critical and theoretical introduction articulating the theoretical basis of the work, considering the new tragic possibilities, and describing the creative process by which the texts and productions were achieved. Working in the context of the Exeter University Drama Department will enable me to work with groups in a way impossible in the circumstances of professional theatre (in terms of time-scale, group size etc). . Throughout this process I will be working in collaboration with colleagues and researchers from Department, who will contribute in a variety of ways to the development of the practical projects, and to the critical and theoretical discourse which surrounds and supports them.

在过去的30年左右的时间里，我为现场表演编写、导演和设计了剧本。在这段时间里，我发展了一种悲剧形式，我称之为灾难性的，以区别于某些古典形式。在这样做的过程中，我发明并改进了对我来说与众不同的语言形式，这个过程还在继续。我相信文本是所有戏剧体验的第一要素。我也相信传统的现实主义戏剧是一种枯竭的形式，但摆脱这种困境的方法不是放弃文本，而是找到新的方法。首先，我想知道，我认为几乎是可塑的、雕塑般的语言是否需要传达意义，或者它是否可以用来制造紧张和狂喜，而不承载特定的信息或内容。一个表演者能说出来而严格地说，什么也不说吗？然而，这种听觉体验还能引起观众的情感吗？其次，匡威说，一个单独的短语，或一对短语，是否可以单独产生情感--或复杂性--就像一段音乐一样？我称第一个版本为“Plethora”，一个压倒性的由许多声音说出的单词，几乎是人类声音的管弦乐队。第二种我称之为“足够裸露”，整个场景都是从一个简短的概念，或图像，甚至是平庸的东西开始的。有了这句话和反对这句话，表演者的行动可能会揭示意想不到的含义。通过在两个方向上扩展我的实践--朝向更多（过度）和更少，我希望展示戏剧文本新生命的可能性。为了探索这些方向，我将编写并上演两部戏剧作品，一部基于《过多》，一部基于《纯粹的满足》。“Plethora”的制作将在其核心语言过剩，涉及人类的声音-无论是个人的声音和合唱-和声音（虽然不是在传统的音乐形式）。“纯粹的满足”的核心是语言的纯粹：这将是一个最努力关注动作和姿态的作品;没有即兴表演，纪律对结果至关重要。这两出戏将涉及专业演员和研究生演员从埃克塞特系的组合，都将在一个完整的生产为公众观众达到高潮。这两个作品将成为为期一天的公开研讨会的主题，导致出版物在奖学金的最后阶段，我将重新工作的剧本出版，并写一个关键的和理论的介绍，阐明工作的理论基础，考虑新的悲剧的可能性，并描述文本和作品的创作过程。在埃克塞特大学戏剧系的背景下工作将使我能够以一种在专业戏剧环境中不可能的方式与团体合作（在时间尺度，团体规模等方面）。.在整个过程中，我将与同事和部门的研究人员合作，他们将以各种方式为实际项目的发展做出贡献，并围绕和支持他们的批判性和理论性话语。

项目成果

Blok/Eko

布洛克/埃科

• 发表时间: 2011
• 作者: Barker

Introduction

介绍

• DOI: 10.1007/978-3-030-45763-1_1
• 发表时间: 2020-05-28
• 期刊: Jefferson’s Revolutionary Theory and the Reconstruction of Educational Purpose
• 作者: Burch KT