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Eimuntas Nekrošius's Transnational ‘Voice from Lithuania’: Reinterpreting Polish Classics within Frames of the Theatre of Sensual Metaphors
Theatre Research International Pub Date : 2022-10-06 , DOI: 10.1017/s0307883322000256
ARTUR DUDA

The aim of this article is an interpretation of Eimuntas Nekrošius's performances staged in the National Theatre Warsaw in the last years of his life. In the context of complex political and cultural relationships between Poland and Lithuania, the aesthetics of the theatre of sensual metaphors invented by Nekrošius might be perceived from an uncommon perspective – not as a type of universal art presenting crucial issues of mankind, but as a transnational reinterpretation of Polish classic plays – first of all, the nineteenth-century Forefathers’ Eve by Adam Mickiewicz, the Polish poet born near Vilnius in Lithuania. From this point of view, the theatre of Nekrošius reveals his political potential to create a transnational bridge between neighbour states. The author tries to apply notions of ‘subaltern agency’ (Gayatri Spivak) and the ‘cosmopolitan subject’ (Yana Meerzon) to present the complex issue of empowerment of Polish and Lithunanian subjects – from rejection of the false messianic consciousness to transnational rapprochement.



中文翻译:

Eimuntas Nekrošius 的跨国“立陶宛之声”:在感性隐喻剧场的框架内重新诠释波兰经典

本文旨在解读 Eimuntas Nekrošius 在他生命的最后几年在华沙国家剧院上演的表演。在波兰和立陶宛之间复杂的政治和文化关系的背景下,Nekrošius 发明的感性隐喻剧场美学可能会从一个不寻常的角度被理解——不是一种呈现人类关键问题的普遍艺术,而是一种跨国的艺术。波兰经典戏剧的重新诠释——首先是19世纪的祖先之夜作者亚当·密茨凯维奇(Adam Mickiewicz),波兰诗人,出生在立陶宛维尔纽斯附近。从这个角度来看,Nekrošius 的剧院揭示了他在邻国之间建立跨国桥梁的政治潜力。作者试图运用“从属机构”(Gayatri Spivak)和“世界主体”(Yana Meerzon)的概念来呈现波兰和立陶宛主体赋权的复杂问题——从拒绝虚假的弥赛亚意识到跨国和解。

更新日期:2022-10-06
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