ABSTRACT

This article uses the criminological frameworks of ideal and complex victims to explore the Donmar Warehouse’s 2018 production of Measure for Measure that grounded the play in references to the Me Too movement. This production staged two versions of the play in one performance, including regendering and role-switching of the central antagonists, which drew attention to the gender dynamics of victimization and offence. While the traditional Isabella was shown to be a nigh perfect ideal victim, when she assumed the offender’s role and victimized Angelo, no neat reversal of power roles was possible. A framework that allows for more complex understandings of victims and offenders is necessary to read this version and to apprehend these issues in real life contexts. This article argues that representations of victims and offenders in theatrical performance have the power to affect understandings of victimization in broader socio-legal contexts and therefore deserve close analysis.

摘要

本文使用理想和复杂受害者的犯罪学框架来探索 Donmar Warehouse 2018 年制作的Measure for Measure这部剧的基础是对 Me Too 运动的引用。该作品在一场演出中上演了该剧的两个版本，包括主要对手的再生和角色转换，这引起了人们对受害和冒犯的性别动态的关注。虽然传统的伊莎贝拉被证明是一个近乎完美的理想受害者，但当她扮演犯罪者的角色并伤害安吉洛时，权力角色的巧妙逆转是不可能的。一个允许对受害者和犯罪者进行更复杂理解的框架对于阅读这个版本并在现实生活中理解这些问题是必要的。本文认为，戏剧表演中受害者和罪犯的表现有能力影响更广泛的社会法律背景下对受害的理解，因此值得仔细分析。