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Erotic Returns: Sleeping with the Ancestors in Contemporary Plays about Sexual Violence
Theatre Journal Pub Date : 2023-06-02
Kari Barclay

Abstract:

This article analyzes two contemporary plays, Jeremy O. Harris’s Slave Play and Mary Kathryn Nagle’s Sovereignty, each of which connects twenty-first-century intimacy with sexual violence in the nineteenth-century United States. Both plays feature what I term “erotic returns”—physical and imaginative restorations of sites of historical trauma that hope to animate lost sensations. Erotic returns conjure intimacy with imagined ancestors, which produce in characters and audiences pain, pleasure, or a multivalent combination of the two. Slave Play depicts a Black protagonist, Kaneisha, returning to a cotton plantation like those she visited on childhood field trips, where she now participates in BDSM role-play based on histories of chattel slavery and negotiates her relationship to submissive sexuality. Sovereignty depicts a Cherokee protagonist, Sarah, returning to tribal land from which her family was displaced. There, she engages in a legal battle to confront sexual violence by non-Natives on Native land and, in the process, forms kinships that repairs rifts within Cherokee Nation. In Slave Play and Sovereignty, erotic returns encourage characters to heal with—not from—the past and confront felt dislocations caused by racial and sexual violence. My idea of an erotic return builds on Audre Lorde’s “Uses of the Erotic” and Soyicca Diggs Colbert, Douglas Jones, Jr., and Shane Vogel’s call for paradigms for race and performance beyond repetition. For Slave Play and Sovereignty’s Black, Indigenous, and white characters, an erotic return repurposes historical traumas as sites of potential pleasure and imagines communities woven together by common scars.



中文翻译:

情色回归:当代性暴力剧中的“与祖先同眠”

摘要:

本文分析了两部当代戏剧,杰里米·O·哈里斯 (Jeremy O. Harris) 的奴隶戏剧和玛丽·凯瑟琳·内格尔 (Mary Kathryn Nagle) 的主权,每部戏剧都将 21 世纪的亲密关系与 19 世纪美国的性暴力联系起来。这两部剧都以我所说的“情色回归”为特色——对历史创伤遗址进行物理和想象的修复,希望能唤起失去的感觉。情色回归让人联想到与想象中的祖先的亲密关系,这会在角色和观众中产生痛苦、快乐或两者的多价组合。奴隶游戏描绘了黑人主角 Kaneisha 回到她童年实地考察时去过的棉花种植园,现在她在那里参与了基于动产奴隶制历史的 BDSM 角色扮演,并协商她与顺从性行为的关系。Sovereignty描绘了切诺基的主角莎拉 (Sarah) 返回她的家人流离失所的部落土地。在那里,她参与了一场法律斗争,以对抗非土著人在土著土地上的性暴力行为,并在此过程中建立了亲属关系,以修复切诺基民族内部的裂痕。在Slave Play and Sovereignty中,情色回报鼓励角色- 不是来自 - 过去和面对种族和性暴力造成的错位。我对色情回归的想法建立在 Audre Lorde 的“Uses of the Erotic”和 Soyicca Diggs Colbert、Douglas Jones, Jr. 和 Shane Vogel 对超越重复的种族和表演范例的呼吁之上。对于Slave Play and Sovereignty的黑人、土著和白人角色,色情回归将历史创伤重新定位为潜在快乐的场所,并想象由共同伤疤编织在一起的社区。

更新日期:2023-06-02
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