Catherine Hoffmann's Free Lunch with the Stench Wench is a performance of abjection and self‐abjection through poverty with an apotropaic aspiration: to shed the shame through sharing, and to create opportunities for a common social subjectivity that refuses to be silent about the struggle of its own creation and maintenance. Despite its title, Free Lunch does not come with a free lunch for the audience but creates an olfactory situation, through the onstage cooking of hot chocolate and the presence of a dead rat, which complements Hoffmann's narration and stage presence into a synaesthetic portrait of poverty and its psychosocial fallout. Drawing on the psychological foundations of shame studies, sociological approaches and social‐theoretical responses to austerity and social division, I propose to examine the gendered embodiment of shame and its exorcism in Hoffmann's performance, focusing on its physical codification in and beyond the visual. I explore the potential of shame to be re‐weaponized against those who originally inflict it, and consider the shame that haunts every creative act, especially those with high political stakes: the failure to make a connection, the fear of being misunderstood.

中文翻译：

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恶臭味的免费午餐：迈向凯瑟琳·霍夫曼表演中的贫困与羞耻感

凯瑟琳·霍夫曼（Catherine Hoffmann）与恶臭小女孩的免费午餐表现了通过贫困和对自我的渴望而实现的自我抛弃：通过分享摆脱耻辱，为共同的社会主体性创造机会，而社会主体拒绝对此保持沉默自己创建和维护。尽管有免费午餐的标题并非免费为观众提供午餐，而是通过在舞台上烹制热巧克力和一只死老鼠来营造一种嗅觉，这与霍夫曼的叙述和舞台表演相辅相成，构成了对贫穷及其心理社会影响的通感肖像。笔者建议利用羞耻研究，社会学方法以及对紧缩和社会分化的社会理论回应的心理学基础，研究霍夫曼表演中羞辱的性别体现及其驱魔，着重于视觉中外的肉体编纂。我探索了对那些最初造成耻辱的人重新武器化的潜力，并考虑了困扰每一个创造性行为的耻辱，尤其是那些具有高政治利益的行为：无法建立联系，