ABSTRACT Within the framework of performance, affects have largely been invoked to explain embodied visceral responses to texts. What I propose here instead is to introduce the dimension of affect as a matter of form (Brinkema [2014]. The Forms of the Affects. Durham, NC: Duke University Press). In other words, the formal composition of performance is itself the result of the work of affects. To demonstrate this claim, I will introduce a close reading of Yvonne Rainer’s iconic work Trio A (1966) as a formal expression of the mechanisms of shame (Sedgwick [2003]. Touching Feeling. Affect, Pedagogy, Performativity. Durham, NC: Duke University Press). Paradoxically, this applied affective structure can be mobilised beside itself and ‘towards an aesthetics of care’ (Thompson [2015]. “Towards an Aesthetics of Care.” Research in Drama Education: The Journal of Applied Theatre and Performance 20 (4): 430–441).

中文翻译：

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热情在哪里？或者，感情是事实，形式

摘要 在表演的框架内，情感在很大程度上被用来解释对文本的具身性本能反应。我在这里建议的是将情感的维度作为形式问题引入（Brinkema [2014]。情感的形式。达勒姆，北卡罗来纳州：杜克大学出版社）。换句话说，表演的正式构成本身就是情感工作的结果。为了证明这一主张，我将仔细阅读伊冯娜·雷纳 (Yvonne Rainer) 的标志性作品 Trio A (1966) 作为羞耻机制的正式表达 (Sedgwick [2003]. Touching Feeling. Affect, Pedagogy, Performativity. Durham, NC: Duke大学出版社）。矛盾的是，这种应用的情感结构可以在其自身之外被调动起来，并“走向关怀美学”（Thompson [2015]。“走向关怀美学。”戏剧教育研究：