幕后的身体:在泽姆林斯基的《梦》中表演残疾

IF 0.3 2区 艺术学 0 MUSIC
C. Armstrong
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引用次数: 0

摘要

像许多以局外人身份为主题的现代主义作品一样,亚历山大·泽姆林斯基(Alexander Zemlinsky)在1921年的歌剧《矮人》(Der Zwerg)中发现了残疾人身体的戏剧性联系。在歌剧中,这样的身体不仅(历史上)是文本,而且(目前)是表演,现代舞台提供了一种历史与当代之间的调解形式。本文以两部歌剧《夜色》为例,剖析了残疾在歌剧舞台上的表现与表现。我首先探讨了残疾同时被夸大和消失,这是“残疾模仿”这一有问题的做法的结果。这种实践的影响及其与真实性和具体化问题的接近性只有在现场表演的背景下才变得更加切实,在现场表演中,试图体现残疾人的身体特征往往是耸人听闻的,充其量也不能令人信服。然而,残疾可以以无数种方式表现出来。虽然残疾模仿可以从窥阴癖的角度产生感知残疾的模式,但这些作品实际上是利用“娱乐”的过程,通过戏剧制作和审美选择的模式来呈现残疾。这就提出了一个相关的问题,即残疾的身体为什么以及通过什么方式被调动(或不调动)在歌剧舞台上,此外,突出了残疾倾向于在身体之外的寄存器中表示意义。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
The Body Behind the Curtain: Performing Disability in Zemlinsky's Der Zwerg
Abstract Like many modernist engagements with the theme of outsider identity, Alexander Zemlinsky's 1921 opera Der Zwerg (The Dwarf) finds its dramatic nexus in the disabled body. In opera, such bodies are not only (historically) texted but also (presently) performed, with modern stagings offering a form of mediation between the historical and contemporary. With reference to two productions of Der Zwerg, this article unpicks aspects of the representation and performance of disability on the operatic stage. I first explore disability's simultaneous exaggeration and disappearance as a result of the problematic practice of ‘disability mimicry’. The effects of this practice and its proximity to issues of authenticity and embodiment are only made more tangible in the context of live performance, where attempts to embody disability's physicality are often sensationalised and unconvincing at best. However, disability can be, and is, represented in myriad ways. While disability mimicry can engender modes of perceiving disability from a voyeuristic perspective, these productions in fact make use of processes of ‘enfreakment’ to present disability through modes of theatrical production and aesthetic choice. This raises pertinent questions about why and by what means the disabled body is mobilised (or not) on the operatic stage, highlighting, moreover, disability's tendency to indicate meaning in registers beyond the body.
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来源期刊
CiteScore
0.20
自引率
0.00%
发文量
19
期刊介绍: Containing lively and provocative essays, Cambridge Opera Journal has a well-established reputation for publishing first-rate scholarship on opera in all its manifestations. The Journal not only contains material on all aspects of the European canon, it has now widened its scope to publish high-quality essays on American opera and musical theatre, on non-Western music theatres, and on contemporary works. Carefully researched and often illustrated with music examples and pictures, articles adopt a wide spectrum of critical approaches. As well as major articles, each issue generally includes reviews on recent publications of importance in the field.
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