Gwendolen Bishop is a name that appears in the margins of my recent account of the English avant-garde theatre. Prior to that she barely made it even into the margins, and then often with some rather significant indecision as to how actually to spell her name. The aim of this essay is to retrieve her from the margins and bring her more centrally into view. In doing so I consciously weave together her arts practices and her personal life, for these are deeply connected. The making of an avantist culture in early twentieth-century England was done not simply by arts experiments but also by kinds of behavior that challenged dominant ideas. In our Western twenty-first century we note and make much of Edwardian behaviors that contested assumptions about gender and sexuality, but we should note, alongside that, some equally striking challenges to ideas about class. Both are apparent in the Bishop story, which I tell more or less as a biographical narrative. The danger when one recovers a person from the shadows is that, in trying to situate them among their contemporaries, one writes overmuch about those contemporaries, such that our person fades again into the mists. With our biographical focus fixed solidly on her we can, I hope, discover how Gwendolen Bishop made her very particular contribution to this exciting cultural period on the eve of modernism.

中文翻译：

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Gwendolen Bishop 的前卫实践


Gwendolen Bishop 这个名字出现在我最近对英国前卫戏剧的描述的空白处。在此之前，她甚至勉强进入了边缘，然后经常对如何拼写她的名字感到相当优柔寡断。本文的目的是将她从边缘找回，并将她更集中地置于视野中。在此过程中，我有意识地将她的艺术实践和她的个人生活编织在一起，因为它们有着深厚的联系。在 20 世纪初的英国，前卫主义文化的形成不仅仅是通过艺术实验完成的，还通过挑战主流思想的各种行为来完成的。在我们西方的 21 世纪，我们注意到并大量关注爱德华时代的行为，这些行为对关于性别和性行为的假设提出了质疑，但与此同时，我们应该注意到，与此同时，一些对阶级观念的同样引人注目的挑战。两者都在毕晓普的故事中很明显，我或多或少地以传记叙述的形式来讲述。当一个人从阴影中恢复过来时，危险在于，当他试图将他们置于同时代人中时，他过多地写了这些同时代人，以至于我们的人再次消失在迷雾中。随着我们的传记重点牢牢地集中在她身上，我希望我们可以发现 Gwendolen Bishop 是如何在现代主义前夕为这个激动人心的文化时期做出非常特殊的贡献的。