Performing in Between Times

Friederike Oberkrome, Verena Straub
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引用次数: 1

Abstract

In current performance and theatre practices, the term ›preenactment‹ has increasingly attracted attention. Performance collectives such as Hofmann&Lindholm, Friendly Fire, Interrobang or Public Movement use the term in different spellings and different contexts to highlight and reflect on imagined futures in the light of current experiences of (political) crisis. Their preenactments for example deal with the status and expectations of European citizens towards their governments, with urban archives of the future, or update political theatre forms such as Brecht’s Lehrstück from a future perspective.1 Thus, they invent hypothetical scenarios, speculate about possible futures and set out to experiment with fictitious time(s) and space(s) in order to gain insight into the present. As a concept, however, preenactment has only recently appeared in academic contexts (Czirak et al. 2019; Kaiser 2014; Marchart 2014), so that a theoretical elaboration is still pending. This is all the more surprising, since forms of reenactment in the arts have been subject of substantial discussion in theatre, performance and literary studies within the last decade (Heeg et al. 2014; Roselt/Otto 2012; Schneider 2011). The present volume addresses this research gap and aims at introducing an interdisciplinary perspective on the temporal entanglements and affective dimensions of reand pre-enactment. In a narrow sense, reenactments can be understood as repetitions of past events. The term derives from the field of historical didactics (Collingwood 1946/1993) and refers to performances that aim at faithfully reproducing historical events and
在间隔时间表演
在当前的表演和戏剧实践中,“预演”一词越来越引起人们的注意。Hofmann&Lindholm、Friendly Fire、Interrobang或Public Movement等表演团体以不同的拼写方式和不同的语境来强调和反思当前(政治)危机经验下的想象未来。例如,他们的预防措施涉及欧洲公民对其政府的地位和期望,未来的城市档案,或者从未来的角度更新政治戏剧形式,如布莱希特的lehrst ck因此,他们发明假设的场景,推测可能的未来,并开始在虚拟的时间和空间中进行实验,以获得对现在的洞察。然而,作为一个概念,预颁布直到最近才出现在学术背景中(Czirak et al. 2019;凯泽2014;Marchart 2014),因此理论上的阐述仍在等待中。这更令人惊讶,因为在过去十年中,艺术中的再现形式一直是戏剧、表演和文学研究中大量讨论的主题(Heeg et al. 2014;Roselt /奥托2012;施耐德2011)。本卷解决了这一研究差距,旨在介绍一个跨学科的观点对时间的纠缠和情感维度的阅读和预颁布。从狭义上讲,重演可以理解为对过去事件的重复。这个词源于历史教学领域(Collingwood 1946/1993),指的是旨在忠实再现历史事件的表演
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