△国家灾难后的记忆和证词:《谈论她》(2016)、《VEGA》(2016)、《他和她的衣橱》(2016)中的世越号母亲们

IF 0.3 3区 艺术学 0 THEATER
Areum Jeong
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引用次数: 0

摘要

为了应对世越号惨案和韩国政府的不当处理,韩国活动家和艺术家动员与受害者家属合作,制作了活动家戏剧作品,不仅关注受灾难影响最大的人的创伤,而且关注他们的生活经历和愿望,特别是那些母亲。此外,演艺界不仅将这些母亲视为受害者,还将她们视为积极的参与者,她们的悲伤通过表演转化为政治行动主义。本文结合主动观看和参与性观察的方法,考察了其中三件作品——《谈论她》(2016a)和《VEGA》(Jaguar 2016),这两部作品是根据母亲们的证词改编的行为作品,以及黄丝带的第一次行为作品《他和她的衣橱》(2016b)。本文关注这些作品如何利用母亲的记忆和证词,形成一种协作式的公共反记忆,反对国家掩盖和冷漠的叙述,以改变纪念活动的要求为中心,将世越号的意义转化为政治和社会变革的催化剂。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Performing memory and testimony after a national disaster: the Sewol mothers in Talking about Her (2016), VEGA (2016), and His and Her Closet (2016)

ABSTRACT

In response to the Sewol Ferry disaster and mishandling of the South Korean government, Korean activists and artists mobilized collaboration with the victims’ families to produce activist theatre productions that center not only the trauma of those most affected by the disaster but also their lived experiences and wishes, especially those of the mothers. Furthermore, the performance community has come to include and represent the mothers not only as victims but as active participants whose grief is transmuted through performance into political activism. Combining tools of active viewing and participant observation, this article examines three of these works—Talking about Her (2016a) and VEGA (Jaguar 2016), which are performance pieces adapted from testimonies by the mothers, and Yellow Ribbon’s first performance, His and Her Closet (2016b). This article focuses on the ways these works, through utilizing the memories and testimonies of the mothers, have come to constitute a kind of collaborative public counter-memory against state cover-ups and unempathetic accounts, centering demands for change in commemoration practices and transforming the meaning of Sewol into a catalyst for political and social change.

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CiteScore
0.60
自引率
33.30%
发文量
11
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