视觉隐喻是在青年戏剧制作Wag中上演《Unsayable》的工具,我拿到了我的手机[很好]

IF 0.2 0 THEATER
A. Gerber
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引用次数: 0

摘要

本文探讨了在南非南非荷兰语学校背景下,为青年逐字逐句戏剧作品构建视觉隐喻的过程。本文探讨了在这种背景下逐字逐句的戏剧创作过程,并举例说明了该过程和制作Wag,ek kry gou my foon[en soos sulke goed](2017)。文章进一步探讨了视觉隐喻的美学和主题应用,并认为视觉隐喻可以用来规避逐字逐句戏剧过程中数据收集阶段出现的问题或限制。这些范围从生产的背景、生产的长度,尤其是道德界限,包括逐字逐句制作者在逼真性和语境限制之间的交叉点上表现主体和材料的责任。文章考察了作品中的场景,得出结论认为视觉隐喻可以丰富逐字逐句研究的语言方面,替换或评论在数据收集阶段期间生成和探索的内容。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Visual metaphor as tool to stage the ‘Unsayable’ in the verbatim, youth theatre production Wag, ek kry gou my foon [en soos sulke goed]
This article explores the process of constructing visual metaphor for a youth verbatim theatre production within the South African, Afrikaans school context. The process of verbatim theatre creation within this context is explored, with examples from both the process and the production Wag, ek kry gou my foon [en soos sulke goed] (2017). The article further examines the aesthetic and thematic applications of visual metaphor and argues that visual metaphor can be used to circumvent problems or restrictions that arise in the data collection phase of the verbatim theatre process. These range from the context wherein the production is created, the length of the production, and especially ethical boundaries, including the responsibility of the verbatim theatre maker to represent both the subjects and material at the intersection between verisimilitude and contextual restrictions The article examines scenes from the production to conclude that visual metaphor can enrich the verbal aspect of the verbatim research to expand, replace or comment on the content generated and explored during the data collection phase.
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CiteScore
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