{"title":"剧院总是在衰败","authors":"S. Gontarski","doi":"10.18778/1505-9057.59.11","DOIUrl":null,"url":null,"abstract":"The Theater Is always Dying traces the resilience of live theatrical performance in the face of competing performative forms like cinema, television and contemporary streaming services on personal, hand-held devices and focuses on theater’s ability to continue as a significant cultural, community and intellectual force in the face of such competition. To echo Beckett, we might suggest, then, that theater may be at its best at its dying since its extended demise seems self-regenerating. Whether or not you “go out of the theatre more human than when you went in”, as Ariane Mnouchkin suggests, or whether you’ve had a sense that you’ve been part of, participated in a community ritual, a Dionysia, or whether or not you’ve felt that you’ve been affected by a performative, an embodied intellectual and emotional human experience may determine how you judge the state of contemporary theater. You may not always know the answer to those questions immediately after the theatrical encounter, or ever deliberately or consciously, but something, nonetheless, may have been taking its course. You may emerge “more human than when you went in”.","PeriodicalId":32744,"journal":{"name":"Acta Universitatis Lodziensis Folia Litteraria Polonica","volume":null,"pages":null},"PeriodicalIF":0.0000,"publicationDate":"2020-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"The theater is always dying\",\"authors\":\"S. Gontarski\",\"doi\":\"10.18778/1505-9057.59.11\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The Theater Is always Dying traces the resilience of live theatrical performance in the face of competing performative forms like cinema, television and contemporary streaming services on personal, hand-held devices and focuses on theater’s ability to continue as a significant cultural, community and intellectual force in the face of such competition. To echo Beckett, we might suggest, then, that theater may be at its best at its dying since its extended demise seems self-regenerating. Whether or not you “go out of the theatre more human than when you went in”, as Ariane Mnouchkin suggests, or whether you’ve had a sense that you’ve been part of, participated in a community ritual, a Dionysia, or whether or not you’ve felt that you’ve been affected by a performative, an embodied intellectual and emotional human experience may determine how you judge the state of contemporary theater. You may not always know the answer to those questions immediately after the theatrical encounter, or ever deliberately or consciously, but something, nonetheless, may have been taking its course. You may emerge “more human than when you went in”.\",\"PeriodicalId\":32744,\"journal\":{\"name\":\"Acta Universitatis Lodziensis Folia Litteraria Polonica\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2020-12-30\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Acta Universitatis Lodziensis Folia Litteraria Polonica\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.18778/1505-9057.59.11\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Acta Universitatis Lodziensis Folia Litteraria Polonica","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.18778/1505-9057.59.11","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
摘要
The Theater Is always Dying追踪了现场戏剧表演在面对个人手持设备上的电影、电视和当代流媒体服务等竞争性表演形式时的韧性,并关注了剧院在面对这种竞争时继续作为一支重要的文化、社区和智力力量的能力。因此,为了呼应贝克特,我们可能会建议,剧院在消亡时可能处于最佳状态,因为它的长期消亡似乎是自我再生的。无论你是否像Ariane Mnouchkin所建议的那样“走出剧院时比走进剧院时更人性化”,或者你是否有一种感觉,认为自己是社区仪式的一部分,参加了一场酒神节,或者是否觉得自己受到了表演的影响,一种具体的智力和情感的人类体验可能决定你如何判断当代戏剧的状态。你可能并不总是在戏剧遭遇后立即知道这些问题的答案,也不总是故意或有意识地知道,但有些事情可能已经顺其自然了。你可能会变得“比你进去的时候更人性化”。
The Theater Is always Dying traces the resilience of live theatrical performance in the face of competing performative forms like cinema, television and contemporary streaming services on personal, hand-held devices and focuses on theater’s ability to continue as a significant cultural, community and intellectual force in the face of such competition. To echo Beckett, we might suggest, then, that theater may be at its best at its dying since its extended demise seems self-regenerating. Whether or not you “go out of the theatre more human than when you went in”, as Ariane Mnouchkin suggests, or whether you’ve had a sense that you’ve been part of, participated in a community ritual, a Dionysia, or whether or not you’ve felt that you’ve been affected by a performative, an embodied intellectual and emotional human experience may determine how you judge the state of contemporary theater. You may not always know the answer to those questions immediately after the theatrical encounter, or ever deliberately or consciously, but something, nonetheless, may have been taking its course. You may emerge “more human than when you went in”.