当前位置: X-MOL 学术South African Theatre Journal › 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.)
The potential of the clown to renegotiate notions of femininity in contemporary performance: Ester Van Der Walt’s Transparent.
South African Theatre Journal Pub Date : 2017-08-17 , DOI: 10.1080/10137548.2017.1358103
Hana Kelly 1
Affiliation  

The female body as it is presented in contemporary performance not only provides significant insight into the historical lineage preluding it and its position within modern Western culture, but also suggests alternative modes of presentation and representation. In her 2015 National Arts Festival Production Transparent, Ester Van Der Walt employs the principles of clowning to discover, explore and then reject normative and elusive notions of femininity, particularly within the fields of dance and choreography. As the conventional presentation of femininity within such fields has, for centuries, been intensely rigid and standardizing, then it follows that the clown – and her embracing of the playful, the chaotic, the fluid – offers alternative modes of femininity. The ontology of the clown is essentially one that is constructed from failure, from playfulness and from subversion of expectation, and its manifestation in Van Der Walt’s Transparent thus demonstrates the transformative potential of the clown when used to explore and present the female body and notions of femininity.

中文翻译:

小丑在当代表演中重新协商女性气质的潜力:埃斯特·范德沃尔特的《透明》。

当代表演中呈现的女性身体不仅提供了对它的历史谱系及其在现代西方文化中的地位的重要洞察,而且还提出了替代的呈现和表现模式。在她的 2015 年全国艺术节制作透明中,埃斯特·范德沃尔特运用小丑的原则来发现、探索并拒绝规范和难以捉摸的女性气质概念,尤其是在舞蹈和编舞领域。几个世纪以来,这些领域对女性气质的传统呈现方式一直非常严格和标准化,因此小丑——以及她对俏皮、混乱、流动的拥抱——提供了替代的女性气质模式。小丑的本体本质上是一种从失败中构建的本体,
更新日期:2017-08-17
down
wechat
bug