ABSTRACT

This article theorises how Akira Takayama with his theatre company Port B facilitates large-scale multi-sited performance works in cities across the globe, which expand the physical architecture of the theatre and utilise digital communications technology. To probe the relation between theatre and the contemporary city, the article interrogates what Takayama calls ‘theatre 2.0’. Drawing on interpersonal exchange with the artist and the notion of ‘quiet politics’ (Askin 2015), the article argues that Takayama's theatre 2.0 forges urban interstices for quiet and tender migratory encounters within an otherwise violent geopolitical sphere of asylum, forced displacement and oppressive border regimes.

摘要

本文从理论上阐述了高山晃晃（Akira Takayama）和他的剧院公司B港口如何促进全球各大城市的大型多场所表演工作，从而扩大了剧院的物理体系结构并利用了数字通信技术。为了探讨剧院与当代城市之间的关系，本文审问了高山所说的“剧院2.0”。文章利用与艺术家的人际交流和“安静政治”的概念（阿斯金，2015年）认为，高山剧场2.0伪造了城市间的空隙，以实现在庇护，强迫流离失所和压迫性边界等原本暴力的地缘政治领域内的安静和温和的迁徙遭遇。政权。