{"title":"扮演难民：主流难民戏剧中的创伤美学","authors":"Myriam Fotou","doi":"10.1080/21624887.2022.2111834","DOIUrl":null,"url":null,"abstract":"ABSTRACT There can hardly be a more commonplace way to start talking about playing on stage than stating the social and political character that theatre has had since its inception. Even when it is not self-defined as ‘political’, the aesthetic and the educational value of theatre is considered self-evident while its engagement with issues of the day is very common. Refugeehood could not escape stage representation, and this is what I consider in the following few pages. How should refugehood be represented on stage beyond aestheticisation of trauma?","PeriodicalId":29930,"journal":{"name":"Critical Studies on Security","volume":"10 1","pages":"96 - 100"},"PeriodicalIF":1.8000,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Playing the refugee: aesthetics of trauma in mainstream refugeehood dramaturgy\",\"authors\":\"Myriam Fotou\",\"doi\":\"10.1080/21624887.2022.2111834\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"ABSTRACT There can hardly be a more commonplace way to start talking about playing on stage than stating the social and political character that theatre has had since its inception. Even when it is not self-defined as ‘political’, the aesthetic and the educational value of theatre is considered self-evident while its engagement with issues of the day is very common. Refugeehood could not escape stage representation, and this is what I consider in the following few pages. How should refugehood be represented on stage beyond aestheticisation of trauma?\",\"PeriodicalId\":29930,\"journal\":{\"name\":\"Critical Studies on Security\",\"volume\":\"10 1\",\"pages\":\"96 - 100\"},\"PeriodicalIF\":1.8000,\"publicationDate\":\"2022-05-04\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Critical Studies on Security\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/21624887.2022.2111834\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q2\",\"JCRName\":\"INTERNATIONAL RELATIONS\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Critical Studies on Security","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/21624887.2022.2111834","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q2","JCRName":"INTERNATIONAL RELATIONS","Score":null,"Total":0}
Playing the refugee: aesthetics of trauma in mainstream refugeehood dramaturgy
ABSTRACT There can hardly be a more commonplace way to start talking about playing on stage than stating the social and political character that theatre has had since its inception. Even when it is not self-defined as ‘political’, the aesthetic and the educational value of theatre is considered self-evident while its engagement with issues of the day is very common. Refugeehood could not escape stage representation, and this is what I consider in the following few pages. How should refugehood be represented on stage beyond aestheticisation of trauma?
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