Narrating Fear through Movement: The Possibilities of Studying Personal and Community Fears on the Example of Theater Amateurism
DOI:
https://doi.org/10.3986/Traditio2018470205Keywords:
narrating fear, autoethnography, performance ethnography, ethnography of war, theater amateurism, dr INAT, Pula // izražanje strahu, avtoetnografija, performativna etnografija, etnografija vojne, amatersko gledališče, PuljAbstract
The article focuses on the verbal limitations and non-verbal possibilities of narrating fear through movement on the example of theater amateurism. The goal is also to examine the modes of approaching the narrations of unpleasant and painful emotions and their silences with a focus on movement and its narrative and research potential in ethnology, cultural anthropology and folklore research. The complexity of the relationship between verbal language and fear, along with the complexity of the relationship between fear and body, demands new insights, new methodologies and new boundaries between the artistic, the scientific, the performative and the textual in ethnography. For that purpose, the author examines the possibilities of performance ethnography that has been influenced the most by Dwight Conquergood, who shifted the focus from the ethnography of performance to contemporary qualitative research methods surrounding performance ethnography.
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Članek se na primeru predstav amaterskega gledališča osredinja na omejitve govora in neverbalno možnost izražanja strahu z gibanjem. Namen je tudi preučiti načine približevanja k pripovedim o neprijetnih in bolečih čustvih in molka o njih s pozornostjo na gibanje in njegovo izražanje, s tem pa tudi premisliti raziskovalno moč etnologije, kulturne antropologije in folkloristike. Kompleksnost razmerja med verbalnim jezikom in strahom, skupaj s kompleksnostjo razmerja med strahom in telesom, zahteva nove premisleke, nove metodologije in nove razmejitve med umetniškim, znanstvenim, performativnim in besednim v etnografiji. Avtorica zato preučuje možnosti uporabe etnografije uprizarjanja/izražanja, na katero je najbolj vplival Dwight Conquergood, ko je premaknil fokus z etnografije izvedbe/uprizoritve na sodobne kvalitativne raziskovalne metode, ki so blizu performativni etnografiji.
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