Ethnographic theater making is not just a modality for staged representation or reenactment. It is a modality of radical anthropological knowledge coproduction, one that disrupts authorship, self, linearity, and proposition‐based knowledge through multimodal, multisensorial, collaborative, and embodied processes. In both incubation and performance, multimodal and multisensorial elements such as voice, body, memory, sound, movement, text, rhythm, velocities, and dialogic relations to other media combine, collide, and fuse to invent ways of knowing, expressing, and documenting. I argue that this multimodal alchemy works not just through the fusion of novel elements but through well‐known theater‐creation processes designed to rewire relations to self, other, language, body, and creativity. Through a discussion of the alchemy of ensemble‐building processes and physical theater tableau creation, and drawing from ten years of work in this arena with twenty different projects, I offer a window into the potential of collective theater making as a mode of anthropological practice that strikes to the core of what we do and what we hold at stake. [theater, ethnography, embodiment, ways of knowing, multimodality]

中文翻译：

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民族志剧场制作：多模式炼金术，知识与发明

人种学戏剧的制作不只是舞台演出或重演的一种形式。这是一种激进的人类学知识联合生产的形式，它通过多模式，多感官，协作和具体化的过程破坏了作者，自我，线性和基于命题的知识。在孵化和表演中，语音，身体，记忆，声音，运动，文本，节奏，速度和与其他媒体的对话关系等多模式和多感官元素相结合，碰撞和融合，从而发明了认识，表达和记录的方式。我认为，这种多模式炼金术不仅通过融合新颖元素，而且通过旨在将关系重新连接至自我，他人，语言，身体和创造力的著名戏剧创作过程而起作用。通过讨论整体建筑过程的炼金术和物理剧院剧场的创作，并从该领域十年的工作中汲取了二十个不同的项目，我提供了一个探究集体剧院制作作为人类学实践模式潜力的窗口。触及我们所做和所面临的风险的核心。[影院，人种，实施例中，知道的方式，多模态]