扮演新石器时代:Leigh Fondakowski的Spill和Ella Hickson的Oil中的毒性和陶醉

IF 0.4 0 THEATER
L. Hess
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引用次数: 0

摘要

摘要埃拉·希克森(Ella Hickson)的《石油》(Oil)(2016)和利·方达科夫斯基(Leigh Fondakowski。每一部戏剧都以自己的方式阐明了石油基础设施的普遍存在:《石油泄漏》聚焦于2010年英国石油公司在墨西哥湾发生的石油泄漏这场具体而轰动的危机,《石油》呈现了一系列场景,聚焦于两位女性(母亲和女儿),她们在不同的时间段和不同的化石能源制度背景下努力生存。这两部剧不仅成功地揭示了为中石油新世提供燃料所必需的采掘制度的毒性,还揭示了维护采掘制度及其随之而来的不公正的叙事的毒性。此外,这两部剧都传达了石油令人陶醉的效果,石油似乎是一种近乎神奇的物质,它承诺着不受约束的进步和美好生活。将这些戏剧结合起来研究,不仅突出了戏剧作品中日益增加的生态问题,而且还说明了戏剧表演如何将巨大的石油基础设施提炼成令人担忧的世界,从而为思考中新世创造重要空间。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Playing the Petrocene: Toxicity and Intoxication in Leigh Fondakowski’s Spill and Ella Hickson’s Oil
Abstract Ella Hickson’s Oil (2016) and Leigh Fondakowski’s Spill (2014) make palpable to their audiences what I call the Petrocene: the age in which human existence has become impossible to conceive without oil. Each play illuminates the pervasive presence of petroleum infrastructures in its own way: while Spill focuses on the specific and sensational crisis of the BP oil spill in the Gulf of Mexico in 2010, Oil presents a series of scenes which focus on two women (mother and daughter) who struggle to carve out their existence in various time periods and in the context of different fossil-energy regimes. Both plays succeed in unveiling not only the toxicity of extractive regimes necessary to fuel the Petrocene, but also the toxicity of the narratives that uphold extractive regimes and their attendant injustices. Moreover, both plays convey the intoxicating effects of oil, which appears as a near-magical substance that promises unfettered progress and access to the good life. Examining these plays in conjunction not only highlights the increasing presence of ecological concerns in dramatic pieces, but also illustrates the ways in which dramatic performance can distill enormous oil infrastructures into apprehensible worlds and thus create vital spaces for pondering the Petrocene.
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来源期刊
CiteScore
0.80
自引率
40.00%
发文量
20
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