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CAMPO MINADO/MINEFIELD: War, Affect and Vulnerability – a Spectacle of Intimate Power
Theatre Research International Pub Date : 2017-08-14 , DOI: 10.1017/s0307883317000293 CECILIA SOSA
Theatre Research International Pub Date : 2017-08-14 , DOI: 10.1017/s0307883317000293 CECILIA SOSA
This essay reflects on the different spectatorial, political, cultural, affective and bodily experiences of attending Lola Arias's MINEFIELD/CAMPO MINADO , both at the Royal Court in London and at a university auditorium in Buenos Aires. Drawing upon the 1982 Malvinas/Falklands War, the Argentine internationally recognized director's production featured six former soldiers who used to be enemies on the battlefield telling real stories about the conflict. Although there was almost nothing that could be called traditional theatre onstage, the production received standing ovations on both sides of the Atlantic. But what was applauded at the end of each performance? The audiences’ reactions, including my own, were very different at the two venues. I argue that Arias's production hinged upon a high-risk, highly exposed public encounter that envisioned a change of perspectives, not only for the ex-soldiers involved but also for the spectators. Rather than staging veterans as war heroes, Arias's social experiment exposed both teams on a common ground of vulnerability. MINEFIELD constructed a spectacle of intimate power that delineated a naked form of transnational citizenship.
中文翻译:
CAMPO MINADO/MINEFIELD:战争、影响和脆弱性——亲密力量的奇观
这篇文章反映了参加 Lola Arias 的不同观赏、政治、文化、情感和身体体验MINEFIELD/CAMPO MINADO ,在伦敦的皇家法院和布宜诺斯艾利斯的大学礼堂。根据 1982 年的马尔维纳斯/马岛战争,这位国际公认的阿根廷导演制作了六名曾经在战场上是敌人的前士兵,讲述了关于这场冲突的真实故事。尽管舞台上几乎没有什么可以称为传统戏剧,但这部作品在大西洋两岸都受到了起立鼓掌。但每场演出结束时的掌声是什么?观众的反应,包括我自己的,在两个场馆里都大相径庭。我认为,阿里亚斯的制作取决于一次高风险、高度曝光的公众遭遇,这种遭遇设想了一种视角的改变,不仅对参与其中的前士兵,而且对观众也是如此。阿里亚斯并没有将退伍军人塑造成战争英雄,而是雷场 构建了一个亲密权力的奇观,描绘了一种赤裸裸的跨国公民形式。
更新日期:2017-08-14
中文翻译:
CAMPO MINADO/MINEFIELD:战争、影响和脆弱性——亲密力量的奇观
这篇文章反映了参加 Lola Arias 的不同观赏、政治、文化、情感和身体体验