作为干预行为的古怪和破坏:在表演工作坊空间中产生一种练习态度的建议

IF 0.2 0 DANCE
Jodie Allinson
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引用次数: 0

摘要

这篇文章提出,集体参与的练习模式,有意破坏或奇怪的习惯动态,促进转变的教学方法的出现。它考虑了权力动态如何影响和产生于学生和讲师之间的教学相遇,以及参与练习如何打破或破坏这些相遇,揭示了教学绩效实践的可能性。它关注的是相遇是如何受到空间影响的,并探索了扰乱关于我们如何在空间中定位自己以制定社会关系的规范观念的实践。这些想法是通过与南威尔士大学戏剧硕士团队的合作来探索的。我们探索了与室内外空间居住和权力表现有关的“良好”参与和小组工作实践的规范概念。这些经历被认为与失败、空间酷儿和神经酷儿有关。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Queering and disrupting as acts of intervention: Proposals for engendering an attitude of practising in the performance workshop space
This article proposes that collectively engaging in modes of practising that intentionally disrupt or queer habitual dynamics facilitates the emergence of transformed pedagogical approaches. It considers how power dynamics inform and emerge from pedagogical encounters between students and lecturer, and how engaging in practising that queers or disrupts these encounters reveals possibilities for teaching performance practice. It focuses on how encounters are spatially influenced and explores practices that disrupt normative ideas about how we position ourselves in space to enact social relations. These ideas are explored through reflecting on working with the MA Drama cohort at the University of South Wales. We explored normative ideas about what constitutes ‘good’ participation and group working practices in relation to the inhabitation of indoor and outdoor spaces and the performance of power. These experiences are considered in relation to failure, the queering of space and neuroqueering.
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来源期刊
CiteScore
0.20
自引率
0.00%
发文量
12
期刊介绍: The Journal of Dance and Somatic Practices is an international refereed journal published twice a year. It has been in publication since 2009 for scholars and practitioners whose research interests focus on the relationship between dance and somatic practices, and the influence that this body of practice exerts on the wider performing arts. In recent years, somatic practices have become more central to many artists'' work and have become more established within educational and training programmes. Despite this, as a body of work it has remained largely at the margins of scholarly debate, finding its presence predominantly through the embodied knowledge of practitioners and their performative contributions. This journal provides a space to debate the work, to consider the impact and influence of the work on performance and discuss the implications for research and teaching. The journal serves a broad international community and invites contributions from a wide range of discipline areas. Particular features include writings that consciously traverse the boundaries between text and performance, taking the form of ‘visual essays'', interviews with leading practitioners, book reviews, themed issues and conference/symposium reports.
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