存档治愈之触

IF 0.4 3区 艺术学 0 DANCE
N. Amin
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引用次数: 0

摘要

在我担任一对一表演《寻找寻找》(2010)的演员期间,我创造了一个场景,240名观众重复了240次。这场戏的中心动作是与观众握手。我认为这段经历是我作为一名演员和表演制作人的一个转折点,也是我通过触摸训练/发展沟通、表达和同理心能力的转折点。这个场景是由我创作、编排和总体设计的,导演是一对一表演的专家。这个场景被称为“移情”。它完全基于自传体材料,基本上是用我和我的丈夫——一位戏剧导演和戏剧研究教授——在2005年9月5日他死于埃及南部一家剧院的火灾之前的最后一晚的事件重演。大火已造成50人死亡,主要是艺术家和评论家,他们是爱德华·阿尔比戏剧《动物园》的观众。这一事件是创伤性的,在埃及戏剧界产生了持久而革命性的悲痛。重温那件事,重演火灾前一晚的行为,引发了我的创伤,即使在实际发生了五年之后。创造场景的训练和过程包括恢复和恢复触觉的感官记忆。这种记忆对场景至关重要,因为它不仅设定了每个观众要执行的身体动作,还设定了场景“移情”应该发生的情感和感觉场。有触觉的作品,无论是作为表演工具、沟通渠道,还是作为演员的知识来源,都很少被访问。最重要的是,这是一个在埃及不受欢迎的地方,因为接触——尤其是男女之间的接触——是一个危险的领域,可能与一些道德和伦理信仰相矛盾。对我来说,也是作为
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Archiving the healing touch
During my work as an actress in one-on-one performance, ‘Seek to Seek’ (2010), produced by Cantabile 2, and created by Nullo Facchini in Denmark, I created a scene that was repeated 240 times with 240 individual spectators. The central action of the scene was holding hands with the spectator. I consider this experience as a turning point in my craft as an actress and performance maker, a turning point based in training/developing my capacities for communication, expression and empathy via touch. The scene was written, choreographed and generally devised by me, and in collaboration with the director who is an expert of his own method in one-on-one performance. The scene was called ‘Empathy’. It was entirely based on autobiographical material, and basically using the re-enactment of the events of the last night that I spent with my husband a theatre director and professor of theatre studiesbefore he died in a fire at a theatre in the south of Egypt on 5 September 2005. The fire had killed 50 people, mainly artists and critics who were the audience of the theatre play ‘The Zoo’ (by Edward Albee). The event was traumatic, and produced a lasting and revolutionary grief within the theatre community in Egypt. Revisiting that event, re-enacting the actions of the night prior to the fire, triggered the trauma in me, even after five years of the actual happening. The training and process towards the creation of the scene included sessions of retrieving and reviving the sensorial memory of touch. This kind of memory was crucial to the scene as it sets not only the physical action to be executed with each single spectator, but also the emotional and sensorial field where the scene, ‘Empathy’, is supposed to take place. The work with touch, whether as a performative tool, a channel of communication, or as a source of knowledge for the actor, remains seldom visited. It is above all a place that is not welcomed in Egypt, as touch -especially between men and womenis a dangerous territory that might contradict with some morals and ethical beliefs. For me, also trained as a
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CiteScore
0.50
自引率
25.00%
发文量
55
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