Dramaturgies of risky play: Two (risky) case studies

Q1 Arts and Humanities
E. Hughes
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引用次数: 1

Abstract

ABSTRACT In this descriptive autoethnographic essay, I discuss my work on risky play as a dramaturgical framework in two recent performances for young audiences—one traditional, one site-specific—staged in the U.S. metropolitan area of Phoenix, Arizona. I directed the first, This Girl Laughs, This Girl Cries, This Girl Does Nothing, in February 2015, and one year later I collaborated with a youth artist to create and perform in The Light Rail Plays on the Valley Metro light rail commuter train system with Rising Youth Theatre. Through both productions, I sought to investigate potential ways in which risk might function dramaturgically in two different youth-focused performance environments. These diverse experiences taught me much about the ways in which I use risk (and its aversion) to negate and control the spaces in which I (claim to) seek to enable empowerment and action. Through this journey, I came to understand risky play as a powerful strategy to facilitate problem solving onstage.
风险游戏戏剧:两个(风险)案例研究
摘要在这篇描述性的民族志文章中,我在最近两次面向年轻观众的演出中讨论了我在冒险戏剧方面的工作,一次是传统的,另一次是特定地点的,这两次演出都在美国亚利桑那州凤凰城举行。2015年2月,我执导了第一部《这个女孩笑,这个女孩哭,这个女孩什么都不做》,一年后,我与一位青年艺术家合作,与Rising youth Theatre合作创作并表演了山谷地铁轻轨通勤列车系统上的轻轨剧。通过这两部作品,我试图研究风险在两种不同的以年轻人为中心的表演环境中发挥戏剧作用的潜在方式。这些不同的经历教会了我很多关于我如何利用风险(及其厌恶)来否定和控制我(声称)寻求赋权和行动的空间。在这段旅程中,我逐渐理解了冒险游戏是一种强大的策略,可以促进舞台上解决问题。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
Youth Theatre Journal
Youth Theatre Journal Arts and Humanities-Visual Arts and Performing Arts
CiteScore
0.60
自引率
0.00%
发文量
1
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