讲普世故事

朱莉娅·哈尔普林·杰克逊著

《追风筝的人》，伦敦西区温德姆斯剧院本·特纳(中). 照片:罗伯特。 工人

*编者注:2022年1月，由 纽约时报 马修·斯潘格勒改编的《追风筝的人 今年七月在百老汇上演.

马修·斯潘格勒谈表演研究、移民和戏剧

菠菜网lol正规平台传播研究教授马修·斯潘格勒说.

When the COVID-19 pandemic hit in March 2020, San José State Communications Studies Professor 马修·斯潘格勒 had five plays in production and another four in pre-production 世界各地.

It was heartbreaking for the playwright, academic and professor to pause and, in some 情况下，取消生产. 斯潘格勒哀叹失去了合作的机会 person with actors, directors, and theater companies across the globe, and even more 因此，与戏剧观众和艺术家进行对话. 大流行迫使 him to find creative ways to work with partners internationally without seeing them 在人.

In addition to this, Spangler, like so many others, had to pivot his 菠菜网lol正规平台 curriculum 到一个完全在线的格式. 他面临着一个挑战:他如何评估表演 如果他不能面对面地观看学生们的表演，他就会对他们的作品产生兴趣?

Though his students could not gather 在人 in San José, operating entirely online 开创了与世界各地艺术家合作的机会.

Spangler reached out to colleagues in the United Kingdom and paired 菠菜网lol正规平台 students 与曼彻斯特城市大学戏剧专业的学生合作. 他们必须找到表演 ways to explore and share the concept of “home” with artists thousands of miles away. Students in Manchester and San José then recorded their projects from their own homes 或者在他们的城市里走路或开车的时候.

“As a group, we all connected to the idea that home isn’t just a physical place—it’s found where the people are, family and friends in particular,” said Maddie White, ’21 Communications Studies, who met her British collaborators in Spangler’s class. 

“We are developing this into a video project that not only maps out what home means to us, but also follows the timeline that has developed into this nostalgic feeling 家的.” 

故事联合

2017年移民戏剧研究所的马修·斯潘格勒教授. 照片:詹姆斯 Tensuan

Spangler made San José State his home in 2005, when he was hired to establish a performance 在通讯研究系学习课程. 他说大学 “has provided a remarkably good home for this program because of the size and diversity 人口的比例.” 

“San José State has racial diversity, economic diversity, diversity in ethnicities 和学术，”斯潘格勒说. “性能研究非常适合这种类型的 diverse classroom because when you have a diverse mix of people, you realize that what really unites them, no matter where they come from or what their background, 他们都讲故事吗.” 

The son and grandson of judges, Spangler’s original plan when he was young was to study law, but as an undergraduate at Northwestern University, he became intrigued 通过移民、非法移民和难民的故事. 他自愿参加了 一个帮助俄罗斯移民在芝加哥定居的组织. 

Once a week for three years, he visited Russian families in their new homes, helping 让他们适应美国. 斯潘格勒对三个不同的家庭做了这个实验 (一个 family per year)—and the experiences forever shaped his artistic and academic 的角度来看.

At Northwestern, Spangler took performance studies courses that changed the trajectory 他的职业生涯. 这是他第一次设想如何把自己的兴趣结合起来 在社会变革中渴望分享有意义的故事. 

《菠菜网lol正规平台》，讲的是中情局在伊朗的政变. 图:克里斯蒂安·海恩斯(CIA特工) Kermit Roosevelt) and Farshad Farahat (as the Shah of Iran), Perspective Theatre Company, 旧金山.

“Performance studies is a way of using live performance in all its forms that can 被带到具有社会意义的话题上，”斯潘格勒说. “这是一种 engage topics like immigration or social exclusion, gender and racial equity through 表演艺术.”

While pursuing his master’s degree at Trinity College Dublin in Ireland, many of his friends and colleagues were immigrants from 世界各地 who were united by a 讲故事的欲望. 

Inspired both by their personal stories and work in performance, Spangler became fascinated 移民和戏剧的交汇处.

His scholarship explores the meaning and significance of creating performance about immigration on an international scale, from adapting literature on the immigrant experience and writing about modern dance performances with refugees and asylum-seekers to performing 爱尔兰的移民和街头艺术.

把戏剧

Both his studies and his creative work ask big questions about immigration, authorship 和真实性. 这些故事是怎么讲的，由谁讲的，以什么方式讲的? 如何 the flexibility of performance allow for an even wider array of cultural narratives? 这些故事有什么影响?

"信天翁," adapted from Samuel Taylor Coleridge’s poem “Rime of the Ancient Mariner.” 图为:本杰明·埃维特(饰演水手)，纽约，外百老汇.

斯潘格勒的戏剧作品包括 信天翁, an adaptation of Samuel Taylor Coleridge’s “Rime of the Ancient Mariner” (New York 非百老汇戏剧界); 被遗忘的皇后, based on the true story of the Persian refugee-turned-Mughal-empress Noor Jahan (Lahore and Karachi, Pakistan); and an adaptation of T.C. 波义耳 玉米粉圆饼窗帘 (圣地亚哥话剧团). 

Many of his plays have been produced worldwide, though few are as well-traveled as 他根据哈立德·侯赛尼2003年的小说改编的获奖作品 追风筝的人, which tells the story of an Afghan refugee family who moves to the 旧金山 海湾地区. 该剧于2007年在圣何塞州立大学首演， a professional premiere at the San José Repertory Theatre in 2009 and was later produced on London’s West End, the Dubai Opera House, and on tours in Ireland, Germany, Canada, 印度和美国.K.  

他最新的戏剧， 惊人的回, was presented in October as part of the prestigious Dublin Theatre Festival in Ireland. It tells the true story of an anti-apartheid strike in Dublin led by grocery store 导致南非产品在全国范围内被禁止.

Spangler is currently at work on a theatrical adaptation of Christy Lefteri’s novel 阿勒颇的养蜂人. He is also writing a book that examines how theater productions have sought to represent refugees and asylum seekers on stage, taking a methodological approach to documentary theater, adaptation of literature, oral history and interview-based theater, and various 舞蹈形式.  

His career in academia is as celebrated as his tenure as a playwright and director. 今年春天，上海州立大学校长玛丽·帕帕齐安任命他为 2021年度校长学者 表彰他的创造性和学术性工作. 斯潘格勒说的 在大流行期间获得这一荣誉, a year that has wreaked havoc on the theater world, “is a testament to the humanity 这所大学的.”

他说:“我认为文学和表演艺术是人类的本质. “如果有 一个 thing that makes us different from almost all the other living creatures on this 星球，就是我们通过艺术创造故事. 讲故事能让我们看到事物 与众不同——在某种程度上，我认为没有什么能真正做到这一点.”