{"title":"我们现在在军队:一场酷儿的、经过调解的新冠肺炎戏剧表演","authors":"A. Simou","doi":"10.1080/14794713.2022.2040289","DOIUrl":null,"url":null,"abstract":"Abstract In April 2021, amidst the second wave of the Covid-19 pandemic, Elias Adam’s We are in the Army Now was presented as part of the online theatre festival FUTURE N.O.W., hosted by Onassis Foundation-Stegi, one of the most well-known theatre venues and cultural institutions in Greece. Indeed, the proliferation of this hybrid kind of digital theatre which was imposed by the pandemic has triggered new discussions among theatre practitioners and theorists on the boundaries of traditional theatre, the (new?) relationship of performers and spectators, the (redefined?) concepts of space, time and liveness. Even though the current digitalization of theatre has often been seen as an imposed situation for artistic and/or financial survival, it still, however, has offered the space for the transgression of theatrical and personal boundaries, creating new trajectories of artistic and political expression. In this article, it will be argued that Elias Adam’s mise en scène constitutes a brilliant example of queer, digital theatre, which has managed to creatively integrate the unprecedented conditions of the pandemic, making some strong political points in a highly aesthetic form with pop and social media references.","PeriodicalId":38661,"journal":{"name":"International Journal of Performance Arts and Digital Media","volume":null,"pages":null},"PeriodicalIF":0.8000,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"We are in the Army Now: a queer, mediatized, Covid-era theater show\",\"authors\":\"A. Simou\",\"doi\":\"10.1080/14794713.2022.2040289\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Abstract In April 2021, amidst the second wave of the Covid-19 pandemic, Elias Adam’s We are in the Army Now was presented as part of the online theatre festival FUTURE N.O.W., hosted by Onassis Foundation-Stegi, one of the most well-known theatre venues and cultural institutions in Greece. Indeed, the proliferation of this hybrid kind of digital theatre which was imposed by the pandemic has triggered new discussions among theatre practitioners and theorists on the boundaries of traditional theatre, the (new?) relationship of performers and spectators, the (redefined?) concepts of space, time and liveness. Even though the current digitalization of theatre has often been seen as an imposed situation for artistic and/or financial survival, it still, however, has offered the space for the transgression of theatrical and personal boundaries, creating new trajectories of artistic and political expression. In this article, it will be argued that Elias Adam’s mise en scène constitutes a brilliant example of queer, digital theatre, which has managed to creatively integrate the unprecedented conditions of the pandemic, making some strong political points in a highly aesthetic form with pop and social media references.\",\"PeriodicalId\":38661,\"journal\":{\"name\":\"International Journal of Performance Arts and Digital Media\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.8000,\"publicationDate\":\"2022-01-02\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"International Journal of Performance Arts and Digital Media\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/14794713.2022.2040289\",\"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":"International Journal of Performance Arts and Digital Media","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/14794713.2022.2040289","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
摘要2021年4月,在第二波新冠肺炎疫情中,Elias Adam的《我们现在在军队》作为在线戏剧节FUTURE N.O.W.的一部分展出,该节由希腊最知名的戏剧场所和文化机构之一Onassis Foundation-Stegi主办。事实上,这种由疫情强加的混合型数字剧院的激增,引发了剧院从业者和理论家对传统剧院的边界、表演者和观众的(新的)关系、空间、时间和生活的(重新定义的)概念的新讨论。尽管目前的戏剧数字化经常被视为艺术和/或财务生存的一种强加情况,但它仍然为超越戏剧和个人界限提供了空间,创造了艺术和政治表达的新轨迹。在这篇文章中,有人认为,Elias Adam的mise en scène是酷儿数字戏剧的一个光辉例子,它成功地创造性地融合了疫情带来的前所未有的条件,以高度美学的形式与流行音乐和社交媒体的参考提出了一些强有力的政治观点。
We are in the Army Now: a queer, mediatized, Covid-era theater show
Abstract In April 2021, amidst the second wave of the Covid-19 pandemic, Elias Adam’s We are in the Army Now was presented as part of the online theatre festival FUTURE N.O.W., hosted by Onassis Foundation-Stegi, one of the most well-known theatre venues and cultural institutions in Greece. Indeed, the proliferation of this hybrid kind of digital theatre which was imposed by the pandemic has triggered new discussions among theatre practitioners and theorists on the boundaries of traditional theatre, the (new?) relationship of performers and spectators, the (redefined?) concepts of space, time and liveness. Even though the current digitalization of theatre has often been seen as an imposed situation for artistic and/or financial survival, it still, however, has offered the space for the transgression of theatrical and personal boundaries, creating new trajectories of artistic and political expression. In this article, it will be argued that Elias Adam’s mise en scène constitutes a brilliant example of queer, digital theatre, which has managed to creatively integrate the unprecedented conditions of the pandemic, making some strong political points in a highly aesthetic form with pop and social media references.