Symptomatic Spaces: Adam Rapp and American Eco-Drama in the Anthropocene

IF 0.4 0 THEATER
Julia Rössler
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引用次数: 0

Abstract

Abstract This article situates two works by contemporary American playwright Adam Rapp – Faster (2002) and Ghosts in the Cottonwoods (2014) – in the wider context of the different traditions of ecological theatre that emerged in the United States in the twentieth century. These traditions can be characterised by their distinct spatial orientation, while similarly shifting focus away from the centrality of representing character and human subjectivity. Contemporary eco-drama retains this spatial orientation established by the landscape play (Gertrude Stein) and environmental theatre (Richard Schechner) but breaks with their displacement of character by developing an aesthetic mode which stages the formation of human subjectivity as deeply intertwined with concrete places. This article shows how Rapp’s plays turn places into “symptomatic spaces” in Una Chaudhuri’s sense that signify a deep interdependence between human subjectivity and nonhuman nature. My reading focuses on how Rapp’s plays contribute to the formation and the conceptualisation of a distinctly “Anthropocenic imaginary” in contemporary American drama.
症状空间:亚当·拉普与人类世的美国生态剧
摘要本文将当代美国剧作家亚当·拉普的两部作品《更快》(2002)和《Cottonwoods的鬼魂》(2014)置于20世纪美国出现的不同生态戏剧传统的更广泛背景下。这些传统可以以其独特的空间取向为特征,同时类似地将焦点从代表性格和人类主体性的中心转移开。当代生态戏剧保留了景观戏剧(格特鲁德·斯坦因饰)和环境戏剧(理查德·谢什内尔饰)确立的这种空间取向,但通过发展一种美学模式打破了它们对人物的位移,这种美学模式将人的主体性的形成与具体场所深深交织在一起。这篇文章展示了拉普的戏剧如何将地方变成乌娜·乔杜里意义上的“症状空间”,这意味着人类主体性和非人性之间的深刻相互依存。我的阅读重点是拉普的戏剧如何有助于当代美国戏剧中一个明显的“人类想象”的形成和概念化。
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
CiteScore
0.80
自引率
40.00%
发文量
20
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