Abstract:

This article explores three experimental closet dramas by British writer Nicholas Mosley, part of the novel Catastrophe Practice (1979), which deserve wider recognition in the context of theatre studies’ current focus on catastrophe and futurity. Mosley’s enigmatic “Plays for Not Acting” promote a leap in consciousness, fostering fresh mental patterns to invigorate humanity. This evolutionary leap, which can be practiced for, is akin to a catastrophe as defined by catastrophe theory: a sudden rupture in a seemingly steady state system. Departing from assigned roles, Mosley’s neo-Brechtian actors exhibit self-awareness of their unconvincing performances and moments of deliberate non-action. By abstaining from conventional acting, they create space for a transformational event beyond linguistic expression. The reader/spectator’s comprehension of the irrelevance of dramatic action, dialogue, and plot to the true “catastrophe” taking place offstage is crucial. Mosley’s concept of productive catastrophe offers a compelling dramaturgical innovation, anticipating performance theory’s insights on self-aware performance’s potential to disrupt rote performativity constructively. Mosley presciently links performance and performativity to human survival.

摘要：

本文探讨了英国作家尼古拉斯·莫斯利创作的三部实验性的衣柜戏剧，它们是小说《灾难实践》（1979）的一部分，在戏剧研究当前关注灾难和未来的背景下，这些戏剧值得更广泛的认可。莫斯利神秘的“为不表演而表演”促进了意识的飞跃，培育了新的思维模式，以振兴人性。这种可以实践的进化飞跃类似于灾难理论所定义的灾难：看似稳态的系统突然破裂。与指定的角色不同，莫斯利的新布莱希特演员表现出了对自己令人信服的表演和故意不采取行动的时刻的自我意识。通过放弃传统的表演，他们为超越语言表达的变革事件创造了空间。读者/观众对戏剧动作、对话和情节与台下发生的真正“灾难”无关的理解至关重要。莫斯利的生产性灾难概念提供了引人注目的戏剧创新，预测了表演理论对自我意识表演有可能建设性地破坏死记硬背的表演的见解。莫斯利很有先见之明地将表现和表现性与人类生存联系起来。