当前位置: X-MOL 学术Agenda › 论文详情
Our official English website, www.x-mol.net, welcomes your feedback! (Note: you will need to create a separate account there.)
Towards an adaptive dramaturgy
Agenda ( IF 0.5 ) Pub Date : 2020-07-02 , DOI: 10.1080/10130950.2020.1782757
Lebogang Disele

abstract When is the moment when women become written out of history? Is it at the moment of wifehood? At the moment of motherhood? Or is it the moment of daughterhood? Is it then that we are trained into servitude and rendered silent? Nira Yuval-Davis (1997:13) suggests that the relegation of women to private spaces, a common practice of patriarchal culture, silences women and excludes them from the process of nation building. I postulate that the gender gap in leadership, is a result of the erasure of women’s stories from the public archive. I contend that women’s leadership, in turn, cannot be achieved without accounting for women’s experiences. As a theatre practitioner, I further contend that theatre and performance provide an opportunity to foreground women’s lived experiences in the public space. This inserts women’s voices and stories into the public archive as a process of delegitimating patriarchal narratives of nationhood that exclude women. This article argues for adaptation as a strategy for challenging the canonical text and the ways in which it excludes certain voices by privileging others. Reflecting on my first attempt at adaptation, ‘Baleti’⁣ (Disele, 2019) I postulate adaptation as a form of performance-as-research. More specifically, I consider ‘Baleti’ an autoethnographic inquiry as I used adaptation to engage with the theme of waiting and how it might impact women’s leadership.

中文翻译:

走向适应性戏剧

摘要 女性从历史中消失的那一刻是什么时候?是在为妻的时候吗?在做母亲的那一刻?或者是女儿的时刻?难道我们被训练成奴役并变得沉默吗?Nira Yuval-Davis (1997:13) 认为,将女性置于私人空间,这是父权文化的一种普遍做法,使女性沉默并将她们排除在国家建设过程之外。我假设领导层的性别差距是公共档案中女性故事被删除的结果。我认为,反过来,如果不考虑女性的经历,就无法实现女性的领导力。作为一名戏剧从业者,我进一步认为戏剧和表演提供了一个机会,可以在公共空间中突出女性的生活经验。这将女性的声音和故事插入到公共档案中,作为将排斥女性的父权制国家叙事合法化的过程。本文主张将适应作为一种挑战规范文本的策略,以及它通过赋予其他人特权来排除某些声音的方式。反思我第一次尝试改编时,'Baleti'⁣(Disele,2019)我假设改编是一种表演即研究的形式。更具体地说,我认为“Baleti”是一种自我民族志调查,因为我使用适应来探讨等待的主题以及它可能如何影响女性领导力。本文主张将适应作为一种挑战规范文本的策略,以及它通过赋予其他人特权来排除某些声音的方式。反思我第一次尝试改编时,'Baleti'⁣(Disele,2019)我假设改编是一种表演即研究的形式。更具体地说,我认为“Baleti”是一种自我民族志调查,因为我使用适应来探讨等待的主题以及它可能如何影响女性领导力。本文主张将适应作为一种挑战规范文本的策略,以及它通过赋予其他人特权来排除某些声音的方式。反思我第一次尝试改编时,'Baleti'⁣(Disele,2019)我假设改编是一种表演即研究的形式。更具体地说,我认为“Baleti”是一种自我民族志调查,因为我使用适应来探讨等待的主题以及它可能如何影响女性领导力。
更新日期:2020-07-02
down
wechat
bug