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izvor podataka: crosbi

The Power of “feeling Nothing” in Wesley Enoch and Deborah Mailman’s play The 7 Stages of Grieving (CROSBI ID 62860)

Prilog u knjizi | izvorni znanstveni rad | međunarodna recenzija

Polak, Iva The Power of “feeling Nothing” in Wesley Enoch and Deborah Mailman’s play The 7 Stages of Grieving // Adaptation: Theory, Criticism and Pedagogy / Matek, Ljubica ; Uvanović, Željko (ur.). Aachen: Shaker, 2018. str. 119-132

Podaci o odgovornosti

Polak, Iva

engleski

The Power of “feeling Nothing” in Wesley Enoch and Deborah Mailman’s play The 7 Stages of Grieving

Since its first staging in 1995, the Australia Aboriginal play The 7 Stages of Grieving written by then unknown Aboriginal director Wesley Enoch and Aboriginal actress Deborah Mailman, remains a vital masterwork providing a raw yet cathartic experience of cultural trauma. By adapting the so-called Kübler-Ross model of the five stages of grief (denial and isolation, anger, bargaining, depression, and acceptance) and the seven stages of Aboriginal history (Dreaming, invasion, genocide, protection, assimilation, self determination, and reconciliation), the play is an invitation into an uneasy territory of charting cultural trauma. The rawness of experience of the nameless woman in this one-woman play is matched with a block of ice suspended above the stage, which gradually melts during her performance. It will be argued that this double act of melting topped with the power of the performative “nothing” shows how the adaptation of the (post)traumatic body can become a site of inscription and a site of the inscriber.

The 7 Stages of Grieving ; Wesley Enoch ; Deborah Mailman ; Kübler-Ross model ; reconciliation ; performative ; constative

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Podaci o prilogu

119-132.

objavljeno

Podaci o knjizi

Adaptation: Theory, Criticism and Pedagogy

Matek, Ljubica ; Uvanović, Željko

Aachen: Shaker

2018.

978-3-8440-5062-2

2367-041X

Povezanost rada

Filologija, Kazališna umjetnost (scenske i medijske umjetnosti)