ABSTRACT This paper explores the representation of border crossing and other migration experiences in the shadow play Ghosts of the River, written by Octavio Solís and performed by the ShadowLight Company. The devices employed to engage spectators with the reality of migrants in the Rio Grande Valley of Texas are analysed in order to bring out the play’s potential to raise awareness of social (in)justice and human rights in the context of the current migratory crisis. Solís’s accounts of his own purposes and composition process are considered, with particular reference to the need to erase the “us” versus “them” divide that tears people apart. The study is underpinned by theories of othering pertaining to the construction of the migrant as alien other or stranger, as articulated by several key scholars. Likewise, spectral criticism informs the interpretation of the characters’ ghostly nature. In this regard, theories deriving from Derrida’s hauntology elaborate on the use of the ghost trope in fictional texts, particularly in those texts pertaining to minority cultural discourses, in which the ghost embodies the oppressed other reappearing as a haunting figure that questions the established order. As is shown, this is the case with the play’s ghost figures, caught in the liminal space of the river as haunting presences endowed with a voice that enables them to articulate their narratives and reenact once and again their ordeals as migrant crossers.

中文翻译：

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“没有'我们和他们'”：通过《幽灵河》中的皮影戏参与移民和跨境叙事

摘要本文探讨了由OctavioSolís撰写并由ShadowLight Company执导的皮影戏《鬼魂》中过境和其他移民经历的表现。分析了在德克萨斯州的里奥格兰德河谷，使观众与移民的现实互动的设备，以便发挥剧本的潜力，以在当前的迁徙危机背景下提高人们对社会（非正义）和人权的认识。考虑了索利斯对自己的目的和组成过程的说明，特别是指需要消除“我们”与“他们”之间的鸿沟，这种鸿沟使人们四分五裂。这项研究得到了其他一些理论的支持，这些理论涉及将移民构造为外来的其他人或陌生人的现象，这是一些关键学者所阐述的。同样 光谱批评有助于解释角色的幽灵本质。在这方面，源自德里达的缠身学的理论详细阐述了虚构小说在小说文本中的使用，特别是在有关少数族裔文化话语的那些文本中，其中幽灵体现了被压迫的其他人的再现，成为质疑既定秩序的困扰人物。如图所示，这部剧作的幽灵人物就是这种情况，他们被困在河的边缘空间中，被赋予了声音，使他们能够表达自己的叙事，并一次又一次地表现出他们作为移民过境者的折磨。尤其是在有关少数族裔文化话语的文本中，其中幽灵体现了被压迫的其他人的再现，成为质疑既定秩序的困扰人物。如图所示，这部剧作的幽灵人物就是这种情况，他们被困在河的边缘空间中，被赋予了声音，使他们能够表达自己的叙事，并一次又一次地表现出他们作为移民过境者的折磨。尤其是在有关少数族裔文化话语的文本中，其中幽灵体现了被压迫的其他人的再现，成为质疑既定秩序的困扰人物。如图所示，这部剧作的幽灵人物就是这种情况，他们被困在河的边缘空间中，被赋予了声音，使他们能够表达自己的叙事，并一次又一次地表现出他们作为移民过境者的折磨。