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Being a Modrzejewska's Fangirl: Female Fandom and Celebrity in Nineteenth-Century Polish Theatre
Theatre Journal Pub Date : 2022-04-09
Agata Łuksza

Abstract:

This essay brings together the perspective of theatre history studies and fan studies in order to ask what it meant to be a celebrity fangirl in the late nineteenth century and thus to historicize fandom and recover forsaken aspects of nineteenth-century theatre culture. By invoking the unique traces of fan experience and fan practices such as recollections left by a self-declared "theatre maniac" or fan letters written to Helena Modrzejewska, this essay investigates Polish female, middle-class fandom of this theatre superstar. Despite emigrating to the United States in the mid-1870s, during the following decades Modrzejewska, known to American audience as Modjeska, guest-performed in Polish lands on a regular basis to great enthusiasm of local audiences. Even though no organizations like the US Modjeska Club ever emerged among Polish spectators, there were equally devoted circles of Modrzejewska's fangirls. They can be compared to other female theatre fans at the turn of the twentieth century, such as the matinée girl in the United States and the psikhopatka in Tsarist Russia. Fangirls shared hierarchies of values, which often collided with social expectations, and together they tended to explore and test alternatives to roles prescribed to them by society. The essay proposes to imagine these women as social and theatre "pirates" who both challenged accepted gender norms of behavior and questioned their own alleged female limitations, as well as advanced forms of reception that were abolished in the process of the "embourgeoisement of theatre."



中文翻译:

成为 Modrzejewska 的迷妹:19 世纪波兰剧院中的女性粉丝和名人

摘要:

本文将戏剧史研究和粉丝研究的视角结合起来,以探寻在 19 世纪后期成为明星粉丝意味着什么,从而将粉丝群体历史化并恢复 19 世纪戏剧文化被遗弃的方面。本文通过援引粉丝体验和粉丝实践的独特痕迹,例如自称“戏剧狂人”的回忆或写给海伦娜·莫德泽耶夫斯卡的粉丝信,调查这位戏剧巨星的波兰女性、中产阶级粉丝。尽管在 1870 年代中期移居美国,但在接下来的几十年中,美国观众称为 Modjeska 的 Modrzejewska 定期在波兰进行客座演出,引起当地观众的极大热情。尽管在波兰观众中从未出现过像美国 Modjeska 俱乐部这样的组织,但 Modrzejewska 的粉丝圈中也有同样忠诚的圈子。她们可以与二十世纪之交的其他女性剧迷相提并论,例如美国的日场女郎和沙皇俄国的psikhopatka。Fangirls 共享价值观等级,这往往与社会期望相冲突,他们一起倾向于探索和测试社会赋予他们的角色的替代方案。这篇文章建议将这些女性想象成社会和戏剧“海盗”,她们既挑战公认的性别行为规范,又质疑自己所谓的女性局限性,以及在“戏剧资产阶级化”过程中被废除的高级接受形式。 "

更新日期:2022-04-09
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