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Off Sites: Contemporary Performance Beyond Site-Specific by Bertie Ferdman (review)
Theatre History Studies Pub Date : 2020-12-31 , DOI: 10.1353/ths.2020.0028
Amanda Rose Villarreal

In lieu of an abstract, here is a brief excerpt of the content:

Reviewed by:

  • Off Sites: Contemporary Performance Beyond Site-Specific by Bertie Ferdman
  • Amanda Rose Villarreal
Off Sites: Contemporary Performance Beyond Site-Specific. By Bertie Ferdman. Carbondale: Southern Illinois University Press, 2018. Pp. x + 195. $38.00, paper.

Bertie Ferdman’s Off Sites examines the evolution of site-specific performance through the dual lenses of visual and performing arts, arguing that the continuous and shifting effects of technology, the global economy, and climate change [End Page 272] are altering our perception of preconceived notions of both time and space. Ferdman considers the political, economic, and technological impacts on the wide array of site-specific works analyzed in this book, concluding that “the outdated theatrical engagement of the term will no longer suffice for its many contemporary variations” (9). Off Sites draws the reader into a discourse of physical, temporal, and mental sites—each one with its own set of political implications. A broad spectrum of performances is detailed within this work, ranging from David Levine’s works challenging theatricality to the legal and social implications of removing a meteorite from its sacred resting place in el Campo del Cielo, Argentina.

The introductory chapter traces the genealogy of site specificity in the Americas and introduces the reader to Ferdman’s concept of “off site” performances. Ferdman analyzes the evolution of site specificity, first through the theories and practices of visual art and then through the evolution of site-specific performance. Doing this, she grounds the reader in a synoptic understanding of the ongoing changes within both fields and their parallel development, regardless of the reader’s point of origin. The thorough introduction offers the opportunity for readers of any background to follow her argument as presented within this work. Ferdman then introduces her categories of sites, integral for her concept of working “off site.” She dedicates the four remaining chapters to disciplinary sites, spectator sites, temporal sites, and urban sites.

In chapter 2, “Disciplinary Sites: Situating Theatre,” Ferdman ties the parallel evolutionary pathways of visual art and performance together, analyzing the work of David Levine, which “is a very deliberate attempt to interweave and therefore question disciplinary histories that define, separate, and categorize theatre versus art histories” (34). Focusing on Private Moment (2015), Actors and Work (2005), and Habit (2012), among others, Ferdman argues that the notion of site reaches beyond physical space and into the artist’s theoretical framework, affecting the audience’s point of reference. The breadth of performances explored within this chapter are unified in the ways Levine situates—or sites—the performances outside of traditional theatrical spaces: in a park, on a farm, at a place of employment. Ferdman argues that Levine is situating theatre as a “disciplinary site,” creating performances that work outside that site, thereby challenging theatrical conventions and influencing the audience’s observational patterns.

“Spectator Sites: Artistic Intervention and the Unintended Audience” further explores sites of spectatorship by focusing on the removed spectator who interacts with, and affects, the artwork without witnessing the performance itself. Ferdman highlights El Chaco en Kassel, (2012) and the off-site international [End Page 273] audience engagement that transformed this piece into The Weight of Uncertainty, as well as Mi Vida Después (Argentina 2009). These performances “made art from the real, and also, simultaneously, intervened in the real, by establishing a communicative kind of off-site spectatorship that existed not as independent from the work, but, on the contrary, in conversation with it” (65). These performances had tangible legal impacts, creating changes in law and in public perception and spurring conversations and reactions even from those who had never witnessed the works in person. El Chaco en Kassel and Mi Vida Después garnered off-site spectatorship, an occurrence that becomes increasingly possible with technological advancements.

Engaging with Rebecca Schneider’s work on theatrical reenactment, Ferdman explores temporal sites in chapter 4, “Temporal Sites: Moving Site, Moving Time.” Ferdman highlights Geyser Land (2003) to demonstrate nonlinear experiences of time created by site-specific performances that situate the history of a location and a people within the present audience’s experience, illustrating the political and social implications of leaving the site of linear temporality. Recounting RFK in EKY (2004)—a...



中文翻译:

场外:贝蒂·费尔德曼(Bertie Ferdman)超越现场的当代表现(评论)

代替摘要,这里是内容的简要摘录:

审核人:

  • 场外:贝蒂·费尔德曼(Bertie Ferdman)超越现场的当代表演
  • 阿曼达·罗斯·比利亚雷亚尔(Amanda Rose Villarreal)
场外:超越站点特定的当代表现。伯蒂·费德曼(Bertie Ferdman)着。Carbondale:伊利诺伊州南部大学出版社,2018年。x +195。38.00美元,纸。

Bertie Ferdman的《Off Sites》通过视觉和表演艺术的双重视角考察了特定场所性能的演变,认为技术,全球经济和气候变化的持续和变化影响[End Page 272]改变了我们对先入为主的看法时间和空间的观念。Ferdman考虑了本书分析的各种特定地点作品的政治,经济和技术影响,并得出结论:“该术语过时的戏剧参与将不再足以满足其许多当代变化”(9)。场外将读者吸引到有关身体,时间和精神场所的论述中-每个场所都有其自身的政治含义。这项工作详细介绍了各种各样的表演,从大卫·莱文(David Levine)挑战戏剧性的作品,到从阿根廷埃尔坎波·德尔·西埃洛(El Campo del Cielo)神圣的安息处移走陨石的法律和社会影响。

介绍性章节介绍了美洲现场特殊性的谱系,并向读者介绍了费德曼“现场”表演的概念。Ferdman首先通过视觉艺术的理论和实践,然后通过特定于站点的性能的演变来分析特定站点的演变。这样做,她使读者对这两个领域内的持续变化及其平行发展有一个概要的了解,而不论读者的出发点是什么。详尽的介绍为所有背景的读者提供了一个机会来听从她在本书中提出的论点。然后,费德曼介绍了她的网站类别,这是她“非现场”工作理念不可或缺的一部分。她将剩下的四章专门用于学科场所,观众场所,临时场所和城市场所。

在第2章“学科场所:剧院”中,费德曼将视觉艺术和表演的平行进化路径联系在一起,分析了戴维·莱文的作品,“这是一次非常有意的尝试,旨在相互交织,从而质疑学科历史,这些历史定义,分离,并对戏剧史和艺术史进行分类”(34)。Ferdman着重关注“私人时刻”(2015),“演员和工作”(2005)和“习惯”(2012)等问题,认为场地的概念超越了物理空间并进入了艺术家的理论框架,从而影响了观众的参照点。本章探讨的表演的广度以莱文所处的位置或地点统一-传统戏剧空间以外的表演:在公园,农场,工作场所。费德曼认为,莱文将剧院定位为“纪律场所”,创造了该场所以外工作的表演,从而挑战了戏剧惯例并影响了观众的观察方式。

“观众现场:艺术干预和意外观众”进一步探讨了观众现场,重点关注了与艺术品互动并影响作品而又没有亲眼目睹表演本身的观众。Ferdman着重介绍了《El Chaco en Kassel》(2012年)和场外国际观众[End Page 273],这些内容将这部作品转变为《不确定性的权重》,以及《Mi VidaDespués》(阿根廷,2009年)。这些表演“通过建立一种交流形式的场外旁观者,从现实中制造艺术,同时也介入到现实中,这种形式的存在并非独立于作品,而是相反地,在对话中”(65)。这些表演产生了明显的法律影响,使法律和公众观念发生了变化,甚至激发了从未亲眼目睹这些作品的人们的对话和反应。El Chaco en KasselMi VidaDespués赢得了场外观看比赛,随着技术的进步,这种情况变得越来越有可能。

在与丽贝卡·施耐德(Rebecca Schneider)在戏剧重演方面的工作相结合的过程中,费德曼在第4章“临时地点:移动地点,移动时间”中探索了临时地点。费德曼着重介绍了间歇泉Geyser Land)(2003),以展示特定地点的表演所创造的时间的非线性体验,这些表演将地点和人们的历史置于当前听众的经验之内,说明离开线性时间性地点的政治和社会影响。回顾EKY中的RFK(2004年)—...

更新日期:2020-12-31
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