在巴里奥表演堂吉诃德:孩子堂吉诃德计划(布鲁克林,纽约)和伯利恒的堂吉诃德(伯利恒,宾夕法尼亚州)

IF 0.4 0 LITERATURE, ROMANCE
R. Miñana
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引用次数: 0

摘要

自1605年米格尔·德·塞万提斯的代表作《堂吉诃德》出版后不久,舞台上就有大量改编作品。在21世纪,《堂吉诃德》不仅作为一部文学经典,而且作为社区层面激进主义的象征,登上了整个美洲的舞台。结合小说的两种主要传统解读,浪漫主义和讽刺,《堂吉诃德》的第三种表演性解读在整个美国大陆出现,这是基于社区的举措,将这部经典改编为贫困社区,传达社会进步和希望的信息。这篇文章聚焦于两个这样的举措,试金石剧院的《伯利恒的堂吉诃德》(宾夕法尼亚州伯利恒)和斯蒂芬·哈夫在纽约布鲁克林的《吉诃德小子》项目。我将研究塞万提斯的英雄是如何在这两个活动家项目中作为一名有意识的表演者,在巴里奥特定的社会经济、政治和文化参数范围内追求个人和集体变革的。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Performing Don Quixote in the Barrio: The Kid Quixote Project (Brooklyn, NY) and Don Quixote of Bethlehem (Bethlehem, PA)
Stage adaptations of Don Quixote, Miguel de Cervantes’ masterpiece, abound since shortly after its publication in 1605. In the twenty-first century, Don Quixote takes the stage throughout the Americas not only as a literary classic but also as an icon of neighborhood-level activism. Combining the two main traditional readings of the novel, the romantic and the satirical, a third performative interpretation of Don Quixote has emerged across the American continent out of community- based initiatives that adapt the classic for underprivileged communities with a message of social betterment and hope. This article focuses on two such initiatives, Touchstone Theater’s Don Quixote of Bethlehem (Bethlehem, PA) and Stephen Haff’s Kid Quixote project in Brooklyn, New York. I will examine how Cervantes’ hero acts in these two activist projects as a conscious performer in pursuit of personal and collective transformation within the specific socio-economic, political, and cultural parameters of the barrio.
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25.00%
发文量
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