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Theatres of Contagion: Transmitting Early Modern to Contemporary Performance ed. by Fintan Walsh (review)
Theatre Journal Pub Date : 2021-01-06 , DOI: 10.1353/tj.2020.0113
Regina Buccola

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

Reviewed by:

  • Theatres of Contagion: Transmitting Early Modern to Contemporary Performance ed. by Fintan Walsh
  • Regina Buccola
THEATRES OF CONTAGION: TRANSMITTING EARLY MODERN TO CONTEMPORARY PERFORMANCE. Edited by Fintan Walsh. Methuen Drama Engage series. London: Bloomsbury Methuen Drama, 2019; pp. 232.

Even had COVID-19 not rendered the issues taken up by Theatres of Contagion immediate and pressing, this anthology would still be a significant contribution to twenty-first-century theoretical approaches [End Page 528] to theatre, from conception to reception. Now that the historical closure of theatres for plague referenced in several of the collection's essays has been replicated in our own time, threatening the stability and survival of theatres around the world, the arresting analyses in this slim volume have taken on new relevance. The essays gathered here consider contagion from the literal to the metaphorical, from the early modern to the contemporary theatre, from existential threat to invigorating cultural exchange. Scholars and practitioners will be grappling with the cogent and prescient set of critical considerations that editor Fintan Walsh has judiciously curated for some time to come.

In his introduction, Walsh uses an epigraph from Hardt and Negri's Empire—"The age of globalization is the age of universal contagion" (3)—to place modernity as a middle term between theatre and infection. At least since early modern antitheatricalists found the theatre to be a literal and figurative source of plague, the theatre has been closely linked to contamination. As Kristen Shepherd-Barr notes in her contribution to the volume, "the liveness and corporeality of performance necessarily entails an encounter with other minds and bodies that will always have contagious possibililites that cannot be contained" (102). Theatre of Contagion's three sections explore first the body as a site of contagion, then the theatre as an art form and a physical space capable of contagion, and finally immersive and digital practices as affective contagions. The collection's fundamental argument is that because contagion causes change, responses to it range along a spectrum from fear to resistance to curiosity to overt desire.

Numerous essays in the collection deploy the Latin origins of the term contagion: "con (with, together) and tangere (to touch)" to discuss touching in the literal and figurative senses (5). Many essays—including Walsh's own, "Viral Hamlet: History, Memory, Kinship," in the first section—take the works of Shakespeare, early modern theatre closures for the plague, or adaptations of early modern plays as jumping-off points. "Viral Hamlet," for example, offers a brilliant analysis of Dickie Beau's solo performance piece Remember Me (2017), which uses the acts of memorialization within Hamlet itself as an occasion to commemorate the numerous gay men who have played the part in the twentieth century, culminating in the memorialization of Ian Charleson in the title role at the National Theatre in 1989. Charleson performed throughout the run under a double erasure documented by Beau, and subsequently Walsh, insofar as Charleson had picked up the part after Daniel Day-Lewis abandoned it, claiming to have seen the ghost of his own father on the stage during the confrontation with Hamlet's late father. Meanwhile, Charleson, unbeknown to his viewing public, was secretly and yet very publicly dying of AIDS even as he died nightly onstage in Horatio's arms.

Marcus Cheng Chye Tan chronicles the somatic effects of theatre, particularly its sonic impact, in "'A plague o'both your houses': Auditory Contagion and Affective Frequencies in Musical and Intercultural Theatres" by focusing on Romeo and Juliet, a play that Shakespeare possibly wrote during the theatre closure for plague during 1592–93. Blank-verse drama has aural force both within the world of the play and on the viewing audience. Romeo and Juliet is a play particularly rich in embedded poems, such as the sonnet that the young lovers exchange when they first meet each other. While one may not be consciously aware of these eruptions of structured verse in the midst of blank verse and prose interludes, rhetorical devices such as rhyme and extended metaphor set such passages apart from the surrounding language. Tan traces this aural effect forward in time, to Leonard Bernstein's "complex . . . instrumental work" in West...



中文翻译:

传染病剧院:从早期到现代表演的传播ed。由Fintan Walsh(评论)

代替摘要,这里是内容的简要摘录:

审核人:

  • 传染病剧院:从早期到现代表演的传播ed。由Fintan Walsh
  • 里贾纳·布科拉(Regina Buccola)
传播剧院:将早期的现代音乐转化为当代的音乐。Fintan Walsh编辑。Methuen戏剧参与系列。伦敦:布鲁姆斯伯里·梅图恩戏剧,2019年; 第232页。

即使COVID-19并没有立即和紧迫地解决传染病剧院所要解决的问题,该选集仍将对二十一世纪的理论方法做出重大贡献。[完,第528页]从概念到接待到剧院。现在,在我们自己的时代中,已经复制了该系列的几篇文章中所提到的剧院的历史性封闭,这威胁了世界各地剧院的稳定性和生存性,因此,在这一狭小卷中进行的引人注目的分析已具有新的意义。这里收集的论文考虑了从字面意义到隐喻的蔓延,从早期的现代到当代剧院的蔓延,从生存的威胁到振兴的文化交流。学者和从业人员将努力应对编辑Fintan Walsh在未来一段时间精心策划的一系列有力而有先见之明的批判性考虑。

在沃尔什(Walsh)的介绍中,他使用了哈特(Hartd)和尼格里(Negri)帝国的题词“全球化的时代是普遍蔓延的时代”(3),将现代性视为戏剧和感染之间的中间术语。至少自从早期的现代戏剧学家发现剧院是瘟疫的字面意义和象征意义的源头以来,剧院就一直与污染息息相关。正如克里斯汀·谢泼德·巴尔(Kristen Shepherd-Barr)在对该书的贡献中所指出的那样,“表演的生动性和可亲性必然导致与其他思想和身体的相遇,而这些思想和身体将始终具有无法控制的传染性可能性”(102)。传染剧院在这三个部分中,首先探讨了身体作为传染场所,然后将剧院作为一种艺术形式和具有传染能力的物理空间,最后探讨了沉浸式和数字化实践作为情感传染。该系列的基本论点是,由于传染会引起变化,因此对它的反应范围从恐惧到抵抗好奇心再到公开欲望。

馆藏中的许多文章都采用了“传染”一词的拉丁语起源:“骗”(与(在一起)和“怪人”(触摸)”,以字面意义和象征意义来讨论触摸(5)。在第一部分中,许多文章(包括沃尔什自己的《病毒小村庄:历史,记忆,亲属关系》)都以莎士比亚的作品,瘟疫的早期现代剧院关闭或早期现代戏剧的改编作为出发点。例如,“病毒哈姆雷特”(Viral Hamlet)对狄基·波(Dickie Beau)的个人表演作品《记住我》Remember Me)(2017)进行了精彩的分析,该片利用哈姆雷特内部的纪念活动本身就是为了纪念在20世纪发挥重要作用的众多男同性恋者,最终以1989年在国家大剧院中扮演伊恩·查尔森(Ian Charleson)的头衔作为纪念。 ,然后是沃尔什(Walsh),就因为丹尼尔·戴·刘易斯(Daniel Day-Lewis)放弃了查尔森(Charleson)捡起的那部分之后,他声称在与哈姆雷特(Hamlet)的已故父亲对峙时在舞台上看到了自己父亲的幽灵。同时,查尔森(Charleson)并不为他所见的公众所知,尽管他晚上在荷拉索(Horatio)的舞台上死亡,却秘密地却非常公开地死于艾滋病。

Marcus Cheng Chye Tan着重讲述莎士比亚的戏剧《罗密欧与朱丽叶》,记录了剧院的躯体效应,尤其是声音的影响,在“'两院之间的瘟疫:音乐和跨文化剧院的听觉上的传染和情感频率”中可能是在剧院关闭期间为1592-93年的瘟疫写的。空白诗集戏剧在听觉世界和观众的视线中都具有听觉上的力量。罗密欧与朱丽叶这是一部特别丰富的诗歌作品,例如年轻恋人初次见面时会交换的十四行诗。尽管人们可能没有意识地意识到在空白诗句和散文之间存在的结构化诗句的这些爆发,但是诸如押韵和扩展隐喻之类的修辞手段却使这种段落与周围的语言脱节。Tan将这种听觉效果追溯到西方的伦纳德·伯恩斯坦(Leonard Bernstein)的“复杂……工具性作品”

更新日期:2021-03-16
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