Magic, metaphysics, and methods
Magic, metaphysics, and methods
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魔法、玄学和方法
DOI：
10.1086/725382
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发表时间：
2023
期刊：
影响因子：
--
通讯作者：
Kaur R
中科院分区：
文献类型：
--
作者：
Kaur R
在一个阴暗的舞台上，耶尔玛坐在地板上哀悼她的命运，旁观者移动，凝视，和八卦。在加布里埃尔·费德里科·加西亚·洛尔卡的残酷戏剧中，社会对无子女婚姻的评判压力导致耶尔玛做出了可怕的行为。本期的封面是英国孟加拉舞蹈家和编舞家Amina Khayyam，她在2014年将这个以父权制西班牙为背景的19世纪故事转移到当代英国的内城，并创新地改编了北印度新古典主义舞蹈Kathak。在这个过程中，阿米娜·海亚姆舞蹈团使加西亚·洛尔卡的乡村叙事与今天城市环境中边缘化社区的许多妇女息息相关。在她的表演风格上，海亚姆反思了舞蹈是如何“本质上总是在讲述一个故事”，其中卡塔克的字面意思是“讲故事的人”。[1]使用白色面具有助于提升视觉表现，使其从舞者肤浅的外表转向运动中故事的纯粹力量。Khayyam解释说：“我使用Abhinaya-手势面部表情-作为它的中心运动，但我通过否定它来颠覆它-所以我的Yerma戴着一张死亡的脸-没有美丽，没有珠宝，没有光泽。2阿比纳亚从亚洲和欧洲的传统中汲取灵感，这在另一部作品《血的舞台》中也很明显，这部作品改编自莎士比亚的《麦克白》，其中海亚姆与来自印度曼尼普尔的戏剧导演Lokendra Arambam合作演出。1997年在西伦敦的泰晤士河上上演，表演巧妙地运用了“萨满教”的技巧。通过密集的研讨会来发展他们的表演，舞者必须利用情感来几乎神奇地驱动他们的动作，这是Khayyam在她自己的作品中发展的一种方法。3以类似的技巧，Yerma的表演与塔布拉的节奏相对应，“描绘Yerma有趣，轻浮和充满希望的一面”，大提琴的尖锐黑暗旋律“其情感品质，折磨，断奏”，以及人声的使用“传达Yerma的信念，最终将事情掌握在自己手中，决定自己的命运。4但是，即使在采取行动的决定性计算中，Yerma也受到了她无法控制的力量的影响。从欣快到恶意，无论是现实生活中事件的社会压力，还是戏剧的迷人逻辑，还是通过卡塔克的迷人和诗意的复述，表演和被表演的各种动态都在激增。这些主题把我们带到这个问题的主要和弦，与魔法，形而上学和方法有关。
On a gloomy dark stage, Yerma sits on the floor mourning her fate as onlookers move, stare, and gossip. In Gabriel Federico Garcia Lorca’s brutal drama, the pressure of social judgment on a childless marriage leads Yerma to commit an awful act. On the cover of this issue is the British Bangladeshi dancer and choreographer, Amina Khayyam, who in 2014 transposed this nineteenthcentury story set in patriarchal Spain to the inner city of contemporary Britain, with an innovative adaptation of north Indian neoclassical dance, Kathak. In the process, the Amina Khayyam Dance Company made Garcia Lorca’s rural narrative relevant to many women in marginalized communities in urban settings today. On her style of rendition, Khayyam reflects on how dancing is “always intrinsically to tell a story” where Kathak literally means “the person who tells a story.” 1 The use of a white mask helps in lifting the visual performance away from the superficiality of the look of the dancer to the bare force of the story in motion. Khayyam explains:“I use Abhinaya—the gestural facial expressions—as the central movement within it, but I subvert it by negating it—so that my Yerma wears a face of death—there is no prettiness, no jewels, no shine.” 2 Abhinaya draws inspiration from both Asian and European traditions, as is also apparent in another work, Stage of Blood, an adaptation of Shakespeare’s Macbeth, in which Khayyam performed with Lokendra Arambam, a theater director from Manipur in India. Staged on the River Thames in West London in 1997, the performance skillfully deployed “shamanistic” techniques. Through intensive workshops to develop their performance, dancers had to harness emotions in order to almost magically drive their movements, an approach that Khayyam develops in her own works. 3 With similar techniques, the performance of Yerma is counterposed with rhythms of the tabla “portraying the fun, flirtatious and hopeful side of Yerma,” the poignant dark strains of cello with “its emotional quality, the torment, staccato,” and the use of vocals “conveying Yerma’s conviction to finally take matters into her own hands and decide her own destiny.” 4 But even in this decisive reckoning of taking action, Yerma is acted upon by forces beyond her control. From euphoria to malice, whether the social pressure of real-life events, the enchanting logic of a drama, or the entrancing and poetic retelling through Kathak, multifarious dynamics of acting and beingacted-upon proliferate. These themes bring us to the predominant chords of this issue, to do with magic, metaphysics, and methods.
《魔法：来自南方的理论》，Ernesto De Martino 着，Dorothy Louise Zinn 翻译和注释，芝加哥，HAU Books，2015 年，224 页，30.00 美元（平装本），ISBN：978-0-9905-0509-9
影响因子：
0.5
作者：
Stefano Portelli
通讯作者：
Stefano Portelli
:颠覆性的古风主义：令人不安的传统主义者和民族遗产的政治
影响因子：
0.7
作者：
K. Brown
通讯作者：
K. Brown