{"title":"克里斯汀·埃辛:《后台工作:技术戏剧劳动的文化史和民族志》","authors":"Chrystyna M. Dail","doi":"10.3138/md-65-4-br2","DOIUrl":null,"url":null,"abstract":"In his 1943 essay “Pythian Heritage,” the exsurrealist Roger Caillois — whose Man, Play and Games (1958) would inform early work in performance studies — took aim at the artistic tradition of valuing chance, accident, and spontaneity. The surrealists he had broken from tended to oppose their unconscious automatism against the suffocations of rational planning. Caillois replied that the true surrealist repression was not planning, but skillful work:","PeriodicalId":43301,"journal":{"name":"MODERN DRAMA","volume":" ","pages":""},"PeriodicalIF":0.4000,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Christin Essin, Working Backstage: A Cultural History and Ethnography of Technical Theater Labor\",\"authors\":\"Chrystyna M. Dail\",\"doi\":\"10.3138/md-65-4-br2\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"In his 1943 essay “Pythian Heritage,” the exsurrealist Roger Caillois — whose Man, Play and Games (1958) would inform early work in performance studies — took aim at the artistic tradition of valuing chance, accident, and spontaneity. The surrealists he had broken from tended to oppose their unconscious automatism against the suffocations of rational planning. Caillois replied that the true surrealist repression was not planning, but skillful work:\",\"PeriodicalId\":43301,\"journal\":{\"name\":\"MODERN DRAMA\",\"volume\":\" \",\"pages\":\"\"},\"PeriodicalIF\":0.4000,\"publicationDate\":\"2022-12-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"MODERN DRAMA\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.3138/md-65-4-br2\",\"RegionNum\":2,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"THEATER\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"MODERN DRAMA","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.3138/md-65-4-br2","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"THEATER","Score":null,"Total":0}
Christin Essin, Working Backstage: A Cultural History and Ethnography of Technical Theater Labor
In his 1943 essay “Pythian Heritage,” the exsurrealist Roger Caillois — whose Man, Play and Games (1958) would inform early work in performance studies — took aim at the artistic tradition of valuing chance, accident, and spontaneity. The surrealists he had broken from tended to oppose their unconscious automatism against the suffocations of rational planning. Caillois replied that the true surrealist repression was not planning, but skillful work:
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