What happens when the act of running migrates across bodies, situations, and aesthetics? And how is running being mobilized in contemporary theatre and performance? Athletic bodies have long been represented in figurative art, but sustained performative explorations of the act and action of running are a more recent phenomenon. In employing running bodies in and as art, artists have responded to the emergence of recreational endurance running as a global mass participation sport, to its increasing visibility as a body-cultural practice, and to the possibilities running opens up for engaging with the broader ‘sport spectacle’. But how are theatre and performance makers employing running bodies and how might this contribute to emerging interdisciplinary dialogues around running and its cultures? In this essay, I propose the notion of gesture as a lens for investigating how performances of running explore a potent dynamic that exists between the running body as spectacle, the running body as generator of kinaesthetic sensation and the running body as initiator of affective response. Gesture mediates between the biological and the social and between the athletic and the artistic, and offers a way of perceiving the expressive and performative potential of running as art. Exploring how running might operate gesturally is important in articulating what running does in and as performance, while also establishing how performance itself might contribute to the emerging interdisciplinary field of ‘running studies’. In running performances, the artist’s running body, or the act of witnessing running bodies, or the experience of one’s own body in motion, serves as a potent and productive means of intervening in the coupling of running and meaning. As an ordinary mode of embodiment running appears repetitive and instrumental with its expressive and gestural potential constrained. Runners’ 1. See Jennifer Doyle, ‘Dirt off Her Shoulders’, GLQ: A Journal of Lesbian and Gay Studies 19, no. 4 (2013): 419–33. Contemporary Theatre Review, 2020 Vol. 30, No. 1, 28–45, https://doi.org/10.1080/10486801.2019.1696322

中文翻译：

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耐力奔跑作为当代戏剧和表演中的一种姿态

当跑步行为跨越身体、情境和美学时会发生什么？跑步是如何在当代戏剧和表演中被动员起来的？运动身体长期以来一直在具象艺术中表现出来，但对跑步的行为和动作的持续表演性探索是一种较新的现象。在将跑步身体运用于艺术中时，艺术家们回应了休闲耐力跑作为一项全球性大众参与运动的出现、其作为一种身体文化实践日益增加的知名度，以及跑步为参与更广泛的活动而开辟的可能性。运动奇观”。但是，戏剧和表演制作者如何使用跑步机构，这将如何促进围绕跑步及其文化的新兴跨学科对话？在这篇论文中，我提出了手势作为镜头的概念，以研究跑步表演如何探索作为景观的跑步身体、作为动觉发生器的跑步身体和作为情感反应发起者的跑步身体之间存在的强大动力。手势在生物和社会之间以及运动和艺术之间起到中介作用，并提供了一种感知跑步作为艺术的表现力和表演潜力的方式。探索跑步如何以手势方式运作对于阐明跑步在表现中的作用和作为表现的作用很重要，同时还确定表现本身如何为新兴的跨学科“跑步研究”领域做出贡献。在跑步表演中，艺术家的跑步身体，或者目睹跑步身体的行为，或者自己身体在运动中的体验，作为干预运行和意义耦合的有效手段。作为一种普通的具身模式，跑步似乎是重复的和工具性的，其表达和手势潜力受到限制。跑步者' 1. 见Jennifer Doyle，'Dirt off Her Shoulders'，GLQ：女同性恋和男同性恋研究杂志19，没有。4 (2013): 419–33。当代戏剧评论，2020 年卷。30, No. 1, 28–45, https://doi.org/10.1080/10486801.2019.1696322