Abstract:

Occupying a central place in Jacques Derrida’s formulation of hauntology, Hamlet’s Ghost is familiar to contemporary performance theory, standing in for the secondariness and self-division that define dramatic representation. But there was another figure more emblematic of performance in the early modern English playhouse: the revenant. Examining the convention of resurrection as it was frequently deployed in this theatre, this essay uncovers the capacity of the revenant to generate presence, the visceral sense of theatrical immediacy first championed by Antonin Artaud. Following readings of The Second Maiden’s Tragedy and Hamlet, it concludes with a coda on James Ijames’s Fat Ham (2023), a play that adopts the early modern theatre’s resurrective praxis of presence.

 抽象的：

《哈姆雷特的幽灵》在雅克·德里达的鬼魂学表述中占据着核心地位，为当代表演理论所熟知，它代表了定义戏剧表现的次要性和自我分裂。但在早期现代英国剧场中，还有另一个更具象征意义的人物：亡魂。本文审视了这座剧院中经常采用的复活惯例，揭示了亡魂产生临场感的能力，以及安东尼·阿尔托（Antonin Artaud）首先倡导的戏剧即时性的本能感。在读完《第二少女的悲剧》和《哈姆雷特》之后，该剧以詹姆斯·伊詹姆斯的《肥腿》（2023）的尾声结束，该剧采用了早期现代戏剧复活的临场实践。