编舞词:Esu十字路口的仪式原型

IF 0.3 Q2 HISTORY
Omofolabo Ajayi-Soyinka
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引用次数: 0

摘要

在这篇文章中,我认为索因卡的《死亡》和《国王的骑士》的仪式美学在美国教学和制作戏剧时面临着特殊的挑战。回顾2008年我在密歇根州卡拉马祖学院与导演Femi Euba合作的《死亡与国王的骑士》的编舞,我讨论了这部戏剧对戏剧叙事的依赖以及文本对英语的音调敏感性。在我作为编舞的工作中,我创造了一个分层的过程来教卡拉马祖生产中的表演者如何体现诗歌的音调纹理。戏剧语言的这一原则是我编舞的主要灵感——一种详细的文字编舞。通过表演,舞者们翻译了索因卡文本中经常被误解的元素,并在这样做的过程中,促进了戏剧和观众之间的启发性联系。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Words to choreograph: Ritual archetypes of/at Esu’s crossroads
ABSTRACT In this essay, I argue that the ritual aesthetics of Wole Soyinka’s Death and the King’s Horseman present special challenges when teaching students and producing plays for audiences in the United States. Reflecting on my choreography and collaboration with director Femi Euba on the 2008 production of Death and the King’s Horseman at Kalamazoo College in Michigan, I discuss the play’s reliance on dance for dramatic storytelling and the tonal sensibilities in the text’s approach to English. In my work as a choreographer, I created a layered process to teach performers in the Kalamazoo production how to embody the tonal textures of the verse. This principle of the play’s dramatic language was the central inspiration for my choreography – a detailed choreography of words. Through performance, the dancers translated these often-misunderstood elements of Soyinka’s text, and in doing so, facilitated an illuminating connection between the play and its audience.
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CiteScore
0.60
自引率
25.00%
发文量
18
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