ABSTRACT

The theater affords us a way to think. It holds, inflects, and problematizes memory, and opens an alternate space within which to interrogate memory as an individual experience and a shared collective phenomenon. This essay interrogates memory as central to the theme, content and form of the theater-making process. Examining the question “How can performance facilitate memory and how can memory facilitate performance?” (Shaughnessy, Nicola. Applying Performance: Live Art, Socially Engaged Theatre and Affective Practice. London: Palgrave, 2012), we analyse the performer's experience in relation to Antonio Damasio’s conceptualization of somatic markers and Jane Bennett’s notion of “thing-power” to consider the ways in which the body in theater honors the plurality of memory.

摘要

剧院为我们提供了一种思考方式。它持有、影响和问题化记忆，并打开一个替代空间，在其中询问作为个人经验和共享集体现象的记忆。这篇文章将记忆作为戏剧制作过程的主题、内容和形式的核心进行了质疑。检查问题“性能如何促进记忆以及记忆如何促进性能？” （Shaughnessy, Nicola。应用表演：现场艺术、社会参与剧院和情感实践。伦敦：Palgrave，2012），我们分析了表演者的经验，与 Antonio Damasio 的躯体标记概念化和 Jane Bennett 的“事物力量”概念相关考虑剧院中的身体尊重多重记忆的方式。