The Politics of Experimental Drama: Unexpected Conformity and Weird Resistance in Alistair McDowall’s Pomona

IF 0.4 0 THEATER
David Barnett
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引用次数: 0

Abstract

Abstract This article explores the relationship between form, content, and politics. It challenges some significant positions by no lesser figures than Bertolt Brecht and Heiner Müller on the need for radical forms to function as a prerequisite for imagining alternatives to the prevailing sociopolitical order. The main focus for analysis is Alistair McDowall’s Pomona (2014), a much-produced and much-lauded play that certainly has an experimental dramaturgy, but one which serves more conservative political ends. The article goes on, however, to identify an instance of “the weird” in the play and argues that an element of content rather than an experimental form can call the world of the play into question.
实验戏剧的政治:阿利斯泰尔·麦克道尔《波莫纳》中出乎意料的顺从与怪异的反抗
摘要本文探讨了形式、内容和政治之间的关系。它挑战了Bertolt Brecht和Heiner Müller等人物的一些重要立场,即激进形式作为想象主流社会政治秩序替代品的先决条件的必要性。分析的主要焦点是阿利斯泰尔·麦克道尔(Alistair McDowall)的《波莫纳》(Pomona)(2014),这是一部制作精良、备受赞誉的戏剧,当然具有实验性的戏剧性,但它为更保守的政治目的服务。然而,这篇文章继续指出了剧中“怪异”的一个例子,并认为内容元素而不是实验形式可能会让剧中的世界受到质疑。
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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