在爱尔兰边境表演贝克特

IF 0.3 0 LITERARY THEORY & CRITICISM
Trish McTighe
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引用次数: 0

摘要

这篇文章考察了贝克特的作品在北爱尔兰边境/爱尔兰北部边境最近的艺术作品中的位置。以迪伦·奎因的《支点》、恩尼斯基伦国际贝克特艺术节的《为等待戈多而行走》和合作社区项目《跨越与中间》为主要例子,我探索了贝克特的作品是如何被吸收到更广泛的艺术和政治话语中去的——以及这个边界地点所反映的危机。这些项目都关注将身体置于边界,要求我们从边界的情况来看,用语言和身体这一脆弱的工具来追踪其往往难以捉摸的轮廓。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Performing Beckett at the Irish Border
This article examines the place of Beckett’s work amongst recent artworks sited at the Northern Irish border/ north of Ireland border. Using Dylan Quinn’s Fulcrum, the Happy Days Enniskillen International Beckett Festival’s Walking for Waiting for Godot, and the collaborative community project Across and In-Between as key examples, I explore how Beckett’s work has become absorbed into the kinds of wider arts and political discourses—and indeed crises—that this border-site reflects. These projects share a concern for placing bodies at the border, asking us to see from the situation of the border, to trace its often-impalpable contours with the frail tools of words and bodies.
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CiteScore
0.30
自引率
0.00%
发文量
22
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