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“The Ghosts Are Watching”: The Globe's Battlefield Performances ofHenry VI
Theatre Survey Pub Date : 2018-01-16 , DOI: 10.1017/s0040557417000485
Joyelle Ball

In the summer of 2013, Shakespeare's Globe, the company based at the Globe reconstruction in London, mounted productions of the three parts of Shakespeare'sHenry VIat Wars of the Roses battlefield sites. The battlefield as performance space, with its rolling hills and buried corpses, mediated the temporal overlap of past and present, as contemporary bodies engaged with the construction of a historical narrative in the fictional play and the actual historical moments of the Wars of the Roses. The associations entrenched in the soil of these sites, the physical remains and histories of the past, encode a connective experience for the contemporary participants interacting with it. The battlefield site, then, is not just a site of historical significance—it is also a site of historical reenactment, where present bodies meet absent ones in the Globe's attempt to converge separated temporalities. The Globe framed the battlefield performances as a way of enlivening history by grounding well-worn Shakespearean texts in the places they represent. But the Globe, in collaboration with The Space, an online arts collective, also filmed the ten-hour marathon event at the Barnet battlefield, live-streamed, and then saved the performance to a digital archive. So the Globe displaced the site of their site-specific experience. Virtual spectatorship, a result of the Globe's efforts to increase access to their battlefield performances by making them available online, adds another layer of absence to the battlefield. The virtual spectator as absent spectator challenges the privileging of a physical viewing experience that the Globe's “open-air” project promotes. The displacement of site disrupts the relationships grounded in the material performance space and its geographical connections, and expands the understanding ofsite-specificby demonstrating how a specific relationship to place might be produced and maintained without physical access to a geographical location. Together with their placement at the historical sites and transmission into virtual spaces, the battlefieldHenry VIs generate a multiplicity of shared viewing experiences. These shared experiences mediate the continuation of a (re)constructed historical and collective memory and highlight the role of spectatorship, both physical and virtual, in the formation of communal and national identity.

中文翻译:

“鬼看”:亨利六世的环球战场表演

2013年夏天,总部位于伦敦环球影城重建的莎士比亚环球剧场开始制作莎士比亚的三个部分。亨利六世在玫瑰战争战场遗址。战场作为表演空间,连绵起伏的丘陵和埋葬的尸体,调解了过去和现在的时间重叠,当代的身体在虚构的戏剧和玫瑰战争的真实历史时刻中构建了历史叙事。在这些遗址的土壤中根深蒂固的联想、物质遗迹和过去的历史,为与之互动的当代参与者编码了一种连接体验。因此,战场遗址不仅仅是一个具有历史意义的遗址——它也是一个历史重演的地方,在地球试图融合分离的时间时,现在的身体与不在场的身体相遇。《环球报》将战场表演作为一种活跃历史的方式,将陈旧的莎士比亚文本植根于它们所代表的地方。但 Globe 还与在线艺术团体 The Space 合作,在 Barnet 战场上拍摄了这场长达 10 小时的马拉松赛事,并进行了现场直播,然后将表演保存到了数字档案中。因此,《环球报》取代了他们特定地点体验的地点。虚拟观众是 Globe 努力通过在线提供他们的战场表演来增加访问的结果,为战场增加了另一层缺席。作为缺席观众的虚拟观众挑战了地球仪“露天”项目所提倡的物理观看体验的特权。特定站点通过演示如何在没有物理访问地理位置的情况下产生和维持与地点的特定关系。连同他们在历史遗迹中的安置和传输到虚拟空间,战场亨利六世s 产生多种共享的观看体验。这些共享的经验调解了(重新)构建的历史和集体记忆的延续,并突出了物理和虚拟观众在社区和国家身份形成中的作用。
更新日期:2018-01-16
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