Notice bibliographique
Résumé
The Wendy House Heather Warren-Crow (bio) and Kelly Rafferty (bio) Such Is the Magic of Power If J. M. Barrie's play Peter Pan, or The Boy Who Wouldn't Grow Up and its reincarnations as Barrie's Peter and Wendy, Disney's Peter Pan, and Steven Spielberg's Hook have taught us anything, it's that enchantment is never unencumbered. It arrives entangled with lust, terror, (attempted) murder, and colonization. Consider the knotty subplot of Barrie's play. After collaborating on a kidnapping, a fairy named Tinker Bell tries to murder her human rival, Wendy. She then finds herself cohabitating with her partner, his new love interest, and their pack of adopted children, the Lost Boys. Wendy takes on the part of Peter's mother while both tackle the domestic labor. They relentlessly pine after Peter, playing supporting roles in his colonialist projects of killing Indians and battling pirates. For our gallery-based performance and art installation The Wendy House (2011), we ask audiences to step into this twisted mess and wrestle with us for an hour. Our Wendy is a drunk. Tinkerbell is on uppers. Peter and the Lost Boys have abandoned them, so they have nothing to do but sing and dance for a gathered crowd. They fight for the audience's love and insults (in Neverland, it's impossible to tell the difference between the two). They tell stories about Peter's manifest destiny and re-create the maps he drew of his empire. They labor, quite literally, to maintain the deteriorating architecture of a Neverland that Peter created with his powerfully enchanting imagination. But the empire rises only to fall apart. The material infrastructure of power needs constant maintenance, leaving Wendy a worn-out, desperate housewife and Tinkerbell an abused and angry child. [End Page 244] Both are hypocrites. They bemoan their own oppressive confinement in the Wendy House while supporting—even imitating—Peter's hegemonic masculinity. Such is the magic of power. While our piece confronts the erotics of colonialism, it also gives audiences an opportunity to encounter enchantment as it is situated within the practice of performance. Wendy and Tinkerbell offer us vehicles to work though performance's fraught relationship with something as affectively charged as the magic of "presence." Clowning, a performance technique we use to animate our version of Tinkerbell, draws its power from the tension produced by the meeting of three different feelings: the joy that comes from encountering the nonthreatening dope, the suspicion generated by the jester or the trickster, and the terror that greets the appearance of Pennywise or the Joker. The white cube of the art gallery derives its presence from absence; like Peter Pan himself, it suggests the supposed purity and innocence of childhood as well as the blank slate that white skin is believed to be. Below we offer a textual fragment of The Wendy House. The words spoken by Wendy and Tinkerbell offer one point of entry into the tangled mess of enchantment presented in our work (another means of access is the art installation—a childish, jerry-rigged structure made of cardboard and discarded bedsheets). In performance, the scripted text is read from index cards, giving our words a material presence that circulates physically in the gallery space. Viewers pick up the cards when they first enter the gallery and later surrender them to Tinkerbell during one of her fits of rage. Cards are torn to bits, nailed to the wall, partially ingested, trod upon, kissed, and laid to rest in the waistband of a pair of stockings. Ultimately, The Wendy House asks the shameful but necessary question, Why is the language of empire still sensuously enchanting, even though its power is held together by duct tape and its magic is revealed to be nothing, really, but glitter and shadows? The Wendy House Wendy: Peter was here. I smell the signs of great good fun. He said: Huddle up, children, now is time for building and later time for falling down. He said: Let's reenact the rise and fall of the Kingdom of Prussia with peanuts wearing tiny hats. What a waste of history. Peter is the [End Page 245] biggest...
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Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,001 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,002 | 0,001 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,000 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,000 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule tête enseignante, pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».