{"title":"托尼·哈里森:尼日利亚，面具和面具","authors":"R. Bower","doi":"10.5871/bacad/9780197266519.003.0008","DOIUrl":null,"url":null,"abstract":"Rachel Bower pays unprecedented attention to Aikin Mata, the version of Aristophanes’ bawdy comedy Lysistrata that Harrison wrote and produced with the Irish poet, James Simmons, when they were teaching at Ahmadu Bello University in Northern Nigeria in 1965. She argues that this encounter with indigenous African performance idioms has had a lasting influence on his later creative practice as well as the emergence of intercultural approaches in world theatre more widely.","PeriodicalId":315731,"journal":{"name":"New Light on Tony Harrison","volume":"15 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2019-01-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Tony Harrison: Nigeria, Masque and Masks\",\"authors\":\"R. Bower\",\"doi\":\"10.5871/bacad/9780197266519.003.0008\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Rachel Bower pays unprecedented attention to Aikin Mata, the version of Aristophanes’ bawdy comedy Lysistrata that Harrison wrote and produced with the Irish poet, James Simmons, when they were teaching at Ahmadu Bello University in Northern Nigeria in 1965. She argues that this encounter with indigenous African performance idioms has had a lasting influence on his later creative practice as well as the emergence of intercultural approaches in world theatre more widely.\",\"PeriodicalId\":315731,\"journal\":{\"name\":\"New Light on Tony Harrison\",\"volume\":\"15 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2019-01-03\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"New Light on Tony Harrison\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.5871/bacad/9780197266519.003.0008\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"New Light on Tony Harrison","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.5871/bacad/9780197266519.003.0008","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
摘要
瑞秋·鲍尔对艾金·玛塔给予了前所未有的关注。1965年，哈里森与爱尔兰诗人詹姆斯·西蒙斯(James Simmons)在尼日利亚北部的艾哈默都·贝罗大学(Ahmadu Bello University)任教时，共同创作并制作了阿里斯托芬(Aristophanes)的淫秽喜剧《吕西斯特拉塔》(Lysistrata)。她认为，这种与非洲土著表演习语的接触对他后来的创作实践以及世界戏剧中更广泛的跨文化方法的出现产生了持久的影响。
Rachel Bower pays unprecedented attention to Aikin Mata, the version of Aristophanes’ bawdy comedy Lysistrata that Harrison wrote and produced with the Irish poet, James Simmons, when they were teaching at Ahmadu Bello University in Northern Nigeria in 1965. She argues that this encounter with indigenous African performance idioms has had a lasting influence on his later creative practice as well as the emergence of intercultural approaches in world theatre more widely.
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