阈限、渴望、爱:时空与阈限人物的映照

IF 1
Susan Davis, Joanne O’Mara
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引用次数: 1

摘要

随着我们走向2021年底,澳大利亚地区将打破在严格封锁中度过的大部分时间的世界纪录(邦德,2021年),人们清醒地意识到,整个世界现在已经发现了阈限(Wayland, 2021年)。这个阈限空间长期以来一直令戏剧从业者、艺术家、哲学家和研究人员着迷。阈限空间是一个过渡的空间,一个处于门槛上的空间,一个介于两者之间的空间,一个中断和不确定的空间,一个可能性的空间。这些空间和状态的阴谋和紧张是我们在戏剧和戏剧中玩的,在真实和想象,“真实”和虚构,具体化,虚拟,此时此地和尚未实现之间跳舞。不管是好是坏,我们中的许多人现在都变成了维克多·特纳(Victor Turner)——他的开创性作品经常被戏剧研究人员引用——所说的“阈值人物”:
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Liminality, longing, love: the reflections of in-between times and liminal personae
As we head towards the end of 2021 and areas in Australia set to break world records for most days spent in hard lockdown (Bond, 2021), it has been sobering to realise the whole world has now discovered liminality (Wayland, 2021). The liminal space is one that has long fascinated theatre practitioners, artists, philosophers and researchers. The liminal space is a space of transition, of being on the threshold, in-between, a space of disruption and uncertainty, a space of possibility. These spaces and states of intrigue and tension are ones we play with in drama and theatre, dancing between the real and imagine, the ‘real’ and the fictional, the embodied, the virtual, the here and now and the not yet realised. For good or ill, many of us have now become what Victor Turner – whose seminal work has often been drawn upon by drama researchers – called, ‘liminal personae’:
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