Reviewing Spectacle: The Pasts, Presents and Futures of the Situationist International in Contemporary Performance

回顾奇观：当代表演中情景主义国际的过去、现在和未来

• 批准号: AH/N504592/2
• 负责人: Clare Finburgh Delijani
• 金额: $ 3.79万
• 依托单位: Goldsmiths University of London
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2017
• 资助国家: 英国
• 起止时间: 2017 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FN504592%2F2
• 关键词: Reviewing; Spectacle; Pasts; Presents; Futures

Few texts bear more contemporary relevance than Guy Debord's The Society of the Spectacle (1967), one of the key works of the Situationist International (SI, 1957-72). Debord highlighted the ideology of consumption, which organizes everyday life into a spectacle via packaging and marketing. Half a century later, what can be gained from returning to the SI's critique of spectacle? Our project investigates, theoretically and creatively, how contemporary performance mediates SI concepts in a digitalized, accelerated world.Aims:1: Provide the first theorization of the specifically French contribution to the history of performance, which has generally been theorized as an Anglophone phenomenon.2. Analyse appropriations of practices developed by the SI to critique the society of the spectacle, by 5 contemporary performance makers.3. Contextualize SI theory and practice historically in mid-20th-century Paris, where they constituted active political resistance, to ask if their value might have shifted across generations.4. Ask if performance might enable a future for the SI different from the one it imagined, where art would be subsumed into everyday life, and suppressed. How can the embodied presence of the performer challenge the flatness of screen simulation? How can witnessing the creation of images in performance foster a critical understanding of the production of spectacle?The project enables collaboration between scholars, Artistic Partners and the heritage sector in France and the UK. 2 symposia at our Partner Institutions (théâtre Nanterre-Amandiers Paris and Centre for Contemporary Art Glasgow) address our Aims via papers, and discussions with artists. These will provide material for 2 special issues co-edited by French and UK investigators. Our Artistic Partner, Graeme Miller, will make a performance in response to the Guy Debord archives held at the BNF, creating a contemporary reactivation of the SI's history and a significant impact activity.

很少有文本比居伊·德波的《幽灵的社会》（1967）更具当代意义，它是情境主义国际（SI，1957-72）的关键作品之一。Debord强调了消费意识形态，即通过包装和营销将日常生活组织成一场奇观。半个世纪后，回到SI对景观的批判，我们能得到什么？我们的项目从理论上和创造性地研究了当代表演如何在数字化、加速的世界中调解SI概念。目的：1：为法国对表演历史的贡献提供第一个理论化，这通常被理论化为一种英语现象。分析由SI开发的实践的拨款来批判奇观的社会，由5个当代表演者。将SI理论和实践历史性地置于20世纪中期巴黎的背景下，在那里它们构成了积极的政治抵抗，以询问它们的价值是否可能在几代人之间发生了变化。问表演是否可能使SI的未来与它想象的不同，在那里艺术将被纳入日常生活，并被压制。表演者的具体存在如何挑战屏幕模拟的平面性？如何在表演中见证形象的创造，促进对奇观制作的批判性理解？该项目使法国和英国的学者，艺术合作伙伴和遗产部门之间的合作成为可能。在我们的合作机构（巴黎的南特-阿曼瑟剧院和格拉斯哥的当代艺术中心）举办的2场研讨会通过论文和与艺术家的讨论来阐述我们的目标。这些将为法国和英国研究人员共同编辑的2个特刊提供材料。我们的艺术合作伙伴格雷姆·米勒（Graeme Miller）将为BNF保存的盖伊·德波（Guy Debord）档案进行表演，创造SI历史的当代复兴和一场具有重大影响力的活动。