‘Objects with Objectives’: Applied puppetry from practice into theory

IF 0.2 0 THEATER

Applied Theatre Research Pub Date : 2020-07-01 DOI:10.1386/atr_00023_1

D. Grant

引用次数: 1

Abstract

This article draws on the dialogue between puppetry and applied drama that arose from the AHRC Objects with Objectives Research Network in 2017‐18 to explore a tentative theory of applied puppetry. A range of theoretical approaches to applied drama are examined in the light of practical examples of applied puppetry using case studies from Northern Ireland, South Africa and Australia. Morton (2013) highlights how, in performance ‘tension between the material puppet and the imagined puppet’ gives rise to a kind of ‘double vision’ (Tillis 1992), a concept that the article considers alongside Gallagher’s (2005) distinction between body image and body schema, Brecht’s (1974) V-effekt, Meyerhold’s (1998) distinction between the materiality and agency of the actor and Boal’s (1992) idea of metaxis. The article concludes that the distancing and conductive qualities of applied puppetry often work in parallel and that the puppet can be seen as the site of metaxis when used in an applied context.

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“有目标的对象”：从实践到理论的木偶戏应用

本文借鉴2017年至2018年AHRC目标对象研究网络中木偶戏与应用戏剧之间的对话，探索应用木偶戏的初步理论。通过北爱尔兰、南非和澳大利亚的案例研究，结合应用木偶戏的实际例子，研究了应用戏剧的一系列理论方法。Morton（2013）强调，在表演中，“物质木偶和想象木偶之间的张力”如何产生一种“双重视觉”（Tillis 1992），这一概念与Gallagher（2005）的身体形象和身体图式之间的区别、Brecht（1974）的V-effekt、，Meyerhold（1998）对行动者的物质性和能动性的区分，以及Boal（1992）的元主义思想。文章得出结论，应用木偶戏的距离和传导特性通常是并行的，当在应用环境中使用时，木偶可以被视为元轴的位置。

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

Applied Theatre Research THEATER-

CiteScore

0.70

自引率

50.00%

发文量

期刊介绍： Applied Theatre Research is the worldwide journal for theatre and drama in non-traditional contexts. It focuses on drama, theatre and performance with specific audiences or participants in a range of social contexts and locations. Contexts include education, developing countries, business and industry, political debate and social action, with children and young people, and in the past, present or future; locations include theatre which happens in places such as streets, conferences, war zones, refugee camps, prisons, hospitals and village squares as well as on purpose-built stages. The primary audience consists of practitioners and scholars of drama, theatre and allied arts, as well as educationists, teachers, social workers and community leaders with an awareness of the significance of theatre and drama, and an interest in innovative and holistic approaches to theatrical and dramatic production, learning and community development. Contributors include eminent and experienced workers and scholars in the field, but cutting-edge contemporary and experimental work from new or little-known practitioners is also encouraged. This double-blind peer-reviewed journal has a global focus and representation, with an explicit policy of ensuring that the best and most exciting work in all continents and as many countries as possible is represented and featured. Cultural, geographical, gender and socio-economic equity are recognised where possible, including in the Review Board.