Abstract I address here the performance of Lope de Vega’s Fuenteovejuna undertaken by TNT-El Vacie, giving particular consideration to the ways in which Antonio Álamo’s adaptation, Pepa Gamboa’s direction, and the staging of El Vacie, a company composed exclusively of Roma women, constitute a site of resistance as well as a performance of gender, identity, and place. From this vantage point, I wrestle with issues of agency, dialogism, and intercultural communication to make sense of ontological as well as hermeneutic aspects of the performance text: deletions and additions; orality and authority; meta-theatricality and self-reflexivity; acting and becoming. In addition, I bring to bear the fact that the name of the company, El Vacie, bears witness to the impoverished settlement or shantytown where the women reside, which stands within a mere two hundred yards of the theater where the play is performed. The name of the company signals the identification of the actresses with the marginal space in which they live, enriches the text, and further complicates their reading of Fuenteovejuna by adding levels of referentiality and indexicality that redefine boundaries as well as processes of exclusion and inclusion. While this is not the first collaboration between TNT and El Vacie—it was preceded by the successful and award-winning 2009 staging of La Casa de Bernarda Alba—I consider this performance a particularly important contribution to the construction of a historicized cultural politics of identity that makes the Romani community visible by positioning the women of El Vacie center stage as participants, creators, and interpreters of the national cultural patrimony. Through this cultural intervention, certain spaces and markers of the Roma community acquire visibility as they get inserted into a national historical discourse from which they previously had been historically excluded.

中文翻译：

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TNT-El Vacie 在罗姆人 Fuenteovejuna 中的历史性和象征性暴力：性别、种族和跨文化主义

摘要 我在此介绍由 TNT-El Vacie 承办的 Lope de Vega 的 Fuenteovejuna 的表演，特别考虑了 Antonio Álamo 的改编、Pepa Gamboa 的指导以及 El Vacie（一家完全由罗姆妇女组成的公司）的演出方式。一个抵抗的场所，也是性别、身份和地方的表现。从这个角度来看，我努力解决能动性、对话和跨文化交流的问题，以理解表演文本的本体论和解释学方面：删除和添加；口头和权威；元戏剧性和自我反思性；演戏和成为。此外，我认为公司名称 El Vacie 见证了妇女居住的贫困定居点或棚户区，它位于距离上演戏剧的剧院仅两百码的范围内。该公司的名称标志着女演员对其生活的边缘空间的认同，丰富了文本，并通过增加重新定义边界以及排斥和包容过程的参考性和索引性水平，进一步使他们对 Fuenteovejuna 的阅读复杂化。虽然这不是 TNT 和 El Vacie 之间的第一次合作——之前是在 2009 年成功且屡获殊荣的 La Casa de Bernarda Alba 上演——但我认为这次表演对构建具有历史意义的身份认同文化政治做出了特别重要的贡献通过将 El Vacie 的女性定位为参与者、创造者、和民族文化遗产的翻译。通过这种文化干预，罗姆人社区的某些空间和标志在被插入到他们以前被历史排除在外的民族历史话语中时获得了可见性。