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Viral Interstitiality and Unlikely Resources: Gender and Labour in Turkish Public Theatre During the Covid-19 Pandemic
Theatre Research International Pub Date : 2024-02-26 , DOI: 10.1017/s0307883323000408
CHRISTINA BANALOPOULOU

The growing literature on Covid-19 and theatre has demonstrated how the pandemic has intensified gendered precarities in theatrical labour.1 However, the pandemic has also provided feminist theatre makers with unexpected or unlikely resources, albeit with limitations. The Istanbul Municipal Theatre's (İstanbul Büyükşehir Belediyesi Şehir Tiyatroları or İBBŞT) production of Melek that premiered in 2020 is an indicative example of such rare and largely invisible cases of pandemic theatre. Critically engaging with the archives and repertoires of tuberculosis (TB) melodrama and the Turkish lives of the genre, Melek conducts an experiential mapping of the performativity of death and the porous borders between everyday performance and artistic performance. The production offered independent feminist theatre practitioners, who otherwise maintain a precarious existence in Turkey's theatre world, access to new spaces, resources and audiences. Combining archival with ethnographic research, I will demonstrate how, in the case of Melek, the intersections between actual and fictive viral contagion – what I define as viral interstitiality – constitute inclusive economies amidst the Covid-19 pandemic. In somatics, the interstitial is theorized and enacted as suspensions of static schisms that shape relational empowerment.2 Drawing upon this grasp of the interstitial as connective thresholds, viral interstitiality sheds light on the practices and the economies of care that emerge from the porous dynamism between the viral and the theatrical.

中文翻译:

病毒间质性和不可能的资源:Covid-19 大流行期间土耳其公共剧院的性别和劳工

越来越多的关于 Covid-19 和戏剧的文献表明,这一流行病如何加剧了戏剧工作者中的性别不稳定因素。1然而,疫情也为女权主义戏剧制作者提供了意想不到的或不太可能的资源,尽管存在局限性。伊斯坦布尔市剧院(伊斯坦布尔 Büyükşehir Belediyesi Şehir Tiyatroları 或 ibŞT)制作的梅莱克2020 年首演的这部剧就是这种罕见且基本上不为人所知的流行病戏剧案例的典型例子。批判性地研究结核病情节剧的档案和剧目以及该类型的土耳其生活,梅莱克对死亡的表演性以及日常表演和艺术表演之间的漏洞进行了体验性映射。该作品为独立女权主义戏剧从业者提供了接​​触新空间、资源和观众的机会,否则她们在土耳其戏剧界的生存就岌岌可危。将档案与人种学研究相结合,我将演示如何在以下情况下梅莱克,实际和虚构的病毒传染之间的交叉点——我的定义是病毒间质性– 在 Covid-19 大流行中构建包容性经济。在躯体学中,间质被理论化并表现为悬浮液塑造关系赋权的静态分裂。2利用这种对间质作为连接阈值的理解,病毒间质性揭示了病毒和戏剧之间的多孔动态中出现的实践和护理经济。
更新日期:2024-02-26
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