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Sites to Remember: Performing the Landscape in Cultural History

Sites to Remember: Performing the Landscape in Cultural History
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摘要 This paper aims to compare and contrast two site-specific performance productions, both designed to grapple with processes of cultural remembrance, whilst also operating as successful tourist attractions. The narratives encompassed by both productions revolve around shared Australian histories, for audiences attracted by place and what it is able to represent. Re-enactments of past events call into the present a consideration of what still remains, with both shows enabling new subjective interpretations of earlier times. The defining difference between the two, however, rests in the context of each performance, in the one case as a commodification of heritage and in the other case as the desire to produce an artistic yet popular theatrical product. Ballarat's, Sovereign Hill's light and sound show, Blood on the Southern Cross celebrates and commemorates, in mega-spectacle style, the Eureka Stockade, one of Australia's key historical events. Using a mechanised display of the original goldmining site of the Eureka rebellion, the performance is operated by computers with video-projection, multi-phonic sound, and moving model forms, with audiences moved around the massive site on transporters. The Piccolo Tales, a contrasting performance most notably in terms of size, unfolds the history of Kings Cross, through its setting in the miniscule iconic Piccolo Bar, in one of the tiny side streets of Sydney's bustling and densest suburb. This paper encompasses an investigation of how the cultural inscriptions of the two specific sites interweave with the performance styles, materials, political and social positioning of the works. Previous performance studies examining site-specificity are utilised, including the author's analysis of particular festival performances as "place-making" (Hayes, 2012, 2013). Smith's (2009) model of "signposts" is used to consider acting within site-specific productions in a new light, whilst both performances are more completely analysed through Schneider's (2011) concept of incomplete pasts forming "cycles of memory".
作者 Janys Hayes
出处 《Journal of Literature and Art Studies》 2016年第10期1221-1230,共10页 文学与艺术研究(英文版)
关键词 cultural history historical re-enactments memory PLACE-MAKING site-specific performance SovereignHill The Eureka Stockade 文化史 表演 网站 历史事件 风景 澳大利亚 表现风格 旅游景点
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  • 1Official visitor guide. (2016). Ballarat: Ballarat Tourism. Retrieved fi'om http://www.visitballarat.com.au.
  • 2Blake, E. (2015, January 29). "Piccolo Tales charts the ever-changing face of the cross". Sydney Morning HeraM, Entertainment. Retrieved from http://www.srnh.com.au/entertainment/theatre/piccolo-tales-charts-the-everchanging- face-of-the-cross-20150201-130sgq.html.
  • 3Blake, J. (2015, February 20). "Revue: Piccolo Tales set in the heart of its inspiration". Sydney Morning Herald. Retrieved from http://www.smh.com.au/entertainment/theatre/review-piccolo-tales-set.in-the-heart-of-its-inspiration-20150220-13kkad.html.
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  • 6Cotter, R. (2016, March 18). "Review, Sydney: Piccolo Tales/Vashti Hughes". Australian Stage. Retrieved from http ://www .australianstage.com.au/201603177690/reviews/sydney/piccolo-tales-%7C-vashti-hughes.html.
  • 7Harvie, J. (2005). Staging the UK. Manchester: Manchester University Press.
  • 8Hayes, J. (2012). An issue of"place": Circus WOW, women of Wollongong's community circus. In G. Arrighi and V. Emeljanow (Eds.), A worm of popular entertainments: An edited volume of critical essays (pp. 163-175). Newcastle, U.K.: Cambridge Scholars Press.
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