屠杀游戏:动物死亡的表演与艺术与生命的纠缠

IF 0.3 2区 艺术学 0 THEATER
Dorota Semenowicz
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引用次数: 0

摘要

1985年7月19日,大约一百人,主要来自戏剧界,获准进入意大利里乔内镇一个正在工作的屠宰场(经邀请后,下班时间)。在那里,作为圣安杰洛节的一部分,Magazzini Criminali剧团将演出他们1984年的戏剧《热内和丹盖里》的缩短版。演员们一边在院子里、马厩里和其他放着屠宰场机械、排水沟、手推车、石盆和金属钩的地方散步,一边背诵着他们的台词片段——这些地方都很干净,但却散发着动物和血的气味。在马厩里,屠宰场的工人牵着一匹马,抚摸着它。然后在隔壁房间,在一名兽医在场的情况下,他们开枪打死了这只动物的头部,然后剥皮,开膛破肚,把它切成碎片。工人们正在执行他们的日常任务,他们正在加工成肉的马已经被安排屠宰了——观众在进入大楼之前就被告知了这个事实。演员和屠宰场工作人员没有联系;它们在空间中各自独立地发挥作用。屠杀完成后,设备被系统地清理干净后,演员们在房间的白墙上写下让·热内的名字,然后,他们坐在一栋建筑墙壁下的地板上,大声朗读他的文章《在沙提拉的四个小时》中的节选,这篇文章写于1982年,当时在贝鲁特西部的萨布拉和沙提拉的难民营里发生了巴勒斯坦难民的大屠杀。在黎巴嫩Phalangists在以色列指挥官的同意下杀害了数百名难民营居民后不久,Genet是第一批进入屠杀地点的外国人之一。《Magazzini Criminali》在电影节上的演出很快在意大利媒体上引发了激烈的争论,并导致该公司成为《当代戏剧评论》,2021年第31卷,第4期,422-437,https://doi.org/10.1080/10486801.2021.1969555
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Playing Slaughter: On Staging Animal Deaths and Entangling Art with Life
On 19 July 1985, about a hundred people, mainly from theatre circles, were allowed inside a working slaughterhouse (upon invitation, after hours) in the Italian town of Riccione. There, as part of the Santarcangelo Festival, the company Magazzini Criminali were to perform a shortened version of their 1984 play Genet a Tangeri. The actors were reciting fragments of their lines while walking in the yard, stables, and other spaces of the building that held slaughterhouse machinery, drainage gutters, carts, stone tubs, and metal hooks – all clean but emanating the smells of animals and blood. In the stables, slaughterhouse workers held and stroked a horse. Then in the next room, with a veterinarian present, they killed the animal with a shot to the head, then skinned, disembowelled, and cut it into pieces. The workers were performing their daily tasks and the horse they were processing into meat was already scheduled for slaughter – the audience had been informed of this fact before entering the building. Actors and slaughterhouse staff made no contact; they were functioning separately and independently in the space. When butchering had been completed and once the equipment was methodically cleaned, the actors wrote Jean Genet’s name across the room’s white walls, and then, while sitting on the floor under one of the building’s walls, they read excerpts aloud from his article ‘Four Hours in Shatila’, written in 1982 following the massacre of Palestinian refugees in camps in Sabra and Shatila, in West Beirut. Genet was among the first foreigners into the massacre sites shortly after the attack had been carried out by Lebanese Phalangists who, with the consent of Israeli commanders, had murdered hundreds of camp inhabitants. The Magazzini Criminali performance at the festival soon sparked off a heated debate in the Italian press and resulted in the company being Contemporary Theatre Review, 2021 Vol. 31, No. 4, 422–437, https://doi.org/10.1080/10486801.2021.1969555
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来源期刊
CiteScore
0.50
自引率
0.00%
发文量
21
期刊介绍: Contemporary Theatre Review (CTR) analyses what is most passionate and vital in theatre today. It encompasses a wide variety of theatres, from new playwrights and devisors to theatres of movement, image and other forms of physical expression, from new acting methods to music theatre and multi-media production work. Recognising the plurality of contemporary performance practices, it encourages contributions on physical theatre, opera, dance, design and the increasingly blurred boundaries between the physical and the visual arts.
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