(非)真实城市:澳大利亚国立大学作品《结束所有派对的派对》中的时空重影

IF 0.4 0 THEATER
Tamara Radak
{"title":"(非)真实城市:澳大利亚国立大学作品《结束所有派对的派对》中的时空重影","authors":"Tamara Radak","doi":"10.1515/jcde-2023-0003","DOIUrl":null,"url":null,"abstract":"Abstract As COVID-19-related closures affected theatre and performance venues worldwide, the question of how theatrical practices might be adapted to these new circumstances became particularly pertinent in the context of immersive theatre and site-specific performance, forms which heavily draw on the audience’s experiential encounter with site and performers for its process of meaning-making. Focussing on ANU Productions’ The Party to End All Parties (2020) as a hybrid form of site-specific pandemic theatre set in the cityscape of Dublin, this article investigates how the production translated the “host/ghost” relationship as a central aspect of site-specific theatre to the virtual realm. It demonstrates how this notion is transformed into a thematic thread woven into the performance, arguing that it engages with the host/ghost relationship through spatial as well as temporal “ghosting,” which blurs the lines between the contemporary setting of lockdown Dublin and the historical landmark of O’Connell Bridge as a site inextricably connected to the emergence of Ireland as a republic. At the same time, this notion is explored through the connections between presence and absence, visibility and invisibility (or, indeed, spectrality) in the three characters’ personal journeys.","PeriodicalId":41187,"journal":{"name":"Journal of Contemporary Drama in English","volume":null,"pages":null},"PeriodicalIF":0.4000,"publicationDate":"2023-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"(Un)real City: Spatial and Temporal Ghosting in ANU Productions’ The Party to End All Parties\",\"authors\":\"Tamara Radak\",\"doi\":\"10.1515/jcde-2023-0003\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Abstract As COVID-19-related closures affected theatre and performance venues worldwide, the question of how theatrical practices might be adapted to these new circumstances became particularly pertinent in the context of immersive theatre and site-specific performance, forms which heavily draw on the audience’s experiential encounter with site and performers for its process of meaning-making. Focussing on ANU Productions’ The Party to End All Parties (2020) as a hybrid form of site-specific pandemic theatre set in the cityscape of Dublin, this article investigates how the production translated the “host/ghost” relationship as a central aspect of site-specific theatre to the virtual realm. It demonstrates how this notion is transformed into a thematic thread woven into the performance, arguing that it engages with the host/ghost relationship through spatial as well as temporal “ghosting,” which blurs the lines between the contemporary setting of lockdown Dublin and the historical landmark of O’Connell Bridge as a site inextricably connected to the emergence of Ireland as a republic. At the same time, this notion is explored through the connections between presence and absence, visibility and invisibility (or, indeed, spectrality) in the three characters’ personal journeys.\",\"PeriodicalId\":41187,\"journal\":{\"name\":\"Journal of Contemporary Drama in English\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.4000,\"publicationDate\":\"2023-05-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Journal of Contemporary Drama in English\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1515/jcde-2023-0003\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"THEATER\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Journal of Contemporary Drama in English","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1515/jcde-2023-0003","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"THEATER","Score":null,"Total":0}
引用次数: 0

摘要

随着covid -19相关的关闭影响了世界各地的剧院和表演场所,戏剧实践如何适应这些新环境的问题在沉浸式戏剧和特定场地表演的背景下变得尤为重要,这些形式在其意义制造过程中严重依赖观众与场地和表演者的体验。澳大利亚国立大学制作的《结束所有派对的派对》(2020年)是一种以都柏林城市景观为背景的特定场地流行病剧院的混合形式,本文重点研究了该制作如何将“主人/鬼魂”关系作为特定场地剧院的核心方面转化为虚拟领域。它展示了这个概念是如何转化为一个主题线编织到表演中,认为它通过空间和时间上的“鬼影”来参与主人/鬼的关系,这模糊了当代设置的封锁都柏林和历史地标奥康奈尔桥之间的界限,这是一个与爱尔兰作为一个共和国的出现密不可分的地点。与此同时,这一概念通过三个人物个人旅程中存在与缺失、可见与不可见(或者,实际上是幽灵性)之间的联系来探索。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
(Un)real City: Spatial and Temporal Ghosting in ANU Productions’ The Party to End All Parties
Abstract As COVID-19-related closures affected theatre and performance venues worldwide, the question of how theatrical practices might be adapted to these new circumstances became particularly pertinent in the context of immersive theatre and site-specific performance, forms which heavily draw on the audience’s experiential encounter with site and performers for its process of meaning-making. Focussing on ANU Productions’ The Party to End All Parties (2020) as a hybrid form of site-specific pandemic theatre set in the cityscape of Dublin, this article investigates how the production translated the “host/ghost” relationship as a central aspect of site-specific theatre to the virtual realm. It demonstrates how this notion is transformed into a thematic thread woven into the performance, arguing that it engages with the host/ghost relationship through spatial as well as temporal “ghosting,” which blurs the lines between the contemporary setting of lockdown Dublin and the historical landmark of O’Connell Bridge as a site inextricably connected to the emergence of Ireland as a republic. At the same time, this notion is explored through the connections between presence and absence, visibility and invisibility (or, indeed, spectrality) in the three characters’ personal journeys.
求助全文
通过发布文献求助,成功后即可免费获取论文全文。 去求助
来源期刊
CiteScore
0.80
自引率
40.00%
发文量
20
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
提示
您的信息不完整,为了账户安全,请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
确定
请完成安全验证×
copy
已复制链接
快去分享给好友吧!
我知道了
右上角分享
点击右上角分享
0
联系我们:info@booksci.cn Book学术提供免费学术资源搜索服务,方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。 Copyright © 2023 布克学术 All rights reserved.
京ICP备2023020795号-1
ghs 京公网安备 11010802042870号
Book学术文献互助
Book学术文献互助群
群 号:481959085
Book学术官方微信