ABSTRACT

This article employs Massey’s conceptualisation of gendered space to explore the ways in which the unrepresented narratives of women in heritage sites can be promoted through site-specific performance practice. It focuses on the development and creation of Souvenir, a site-specific play performed at Ayr beach in South Ayrshire, Scotland in 2017. The project involved the development of a public performance work inspired by stories shared by local women at reminiscence workshops. Implementing a practice-as-research (PaR) methodology, this performance was created to celebrate the narratives of ‘ordinary’ women so often unrepresented in heritage spaces. The aim of this study was to extrapolate principles of feminist performance practice that can be used to respond to the lack of women’s stories, termed ‘Herstory’, in such sites. This article delineates the development process of Souvenir, noting the particular frameworks and methods employed to foreground Herstory. The performance process drew upon Smith’s mythogeography and Berger’s hydrological dramaturgy in order to explore how creative practice could highlight the feminist possibilities of the space. The combination of practice and theory serves to interrogate the performance methods used in representing marginalised narratives of women, while simultaneously exploring how personal conceptualisations of space can be altered through such work.

摘要

本文采用梅西对性别空间的概念化来探索如何通过特定地点的表演实践来促进遗产地中女性的无代表性叙述。它专注于纪念品的开发和创作，这是 2017 年在苏格兰南艾尔郡艾尔海滩上演的现场特定戏剧。该项目涉及开发一个公共表演作品，灵感来自当地妇女在回忆研讨会上分享的故事。该表演采用实践即研究 (PaR) 方法，旨在颂扬“普通”女性的叙述，这些女性在遗产空间中常常没有代表。本研究的目的是推断女权主义表演实践的原则，这些原则可用于应对此类网站中缺乏女性故事（称为“Herstory”）的情况。本文描述了 Souvenir 的开发过程，并指出了用于前景 Herstory 的特定框架和方法。表演过程借鉴了史密斯的神话地理和伯杰的水文戏剧，以探索创造性实践如何突出空间的女权主义可能性。实践与理论的结合旨在探究用于代表女性边缘化叙述的表演方法，同时探索如何通过此类工作改变个人空间概念化。表演过程借鉴了史密斯的神话地理和伯杰的水文戏剧，以探索创造性实践如何突出空间的女权主义可能性。实践与理论的结合旨在探究用于代表女性边缘化叙述的表演方法，同时探索如何通过此类工作改变个人空间概念化。表演过程借鉴了史密斯的神话地理和伯杰的水文戏剧，以探索创造性实践如何突出空间的女权主义可能性。实践与理论的结合旨在探究用于代表女性边缘化叙述的表演方法，同时探索如何通过此类工作改变个人空间概念化。