Examining three examples from theatre productions in London and Edinburgh between 1997-2001, this article explores the coup de theâtre as a theatrical phenomenon. It argues for the importance of enchantment in conceptualising the coup de theâtre and that the suspension of the rational in relation to such theatrical moments is central to their impact. This sense of enchantment revolves around the changing status of the object in the coup de theâtre, which, it will be suggested, is linked to the shift between animacy and inanimacy. By destabilising rational modes of understanding, the coup de theâtre enters into the temporality of death and mourning, as objects occupy dual ontologies, both living and inanimate, literal and metaphorical. The coup de theâtre, it will be argued, is a point in performance in which perception and memory, the visible and the conceptual, converge, and in which the permanence of death is troubled by the reanimating effect of theatre.

中文翻译：

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戏剧政变和迷人的表演对象

本文分析了 1997 年至 2001 年伦敦和爱丁堡戏剧作品的三个例子，探讨了戏剧政变作为一种戏剧现象。它论证了魔法在将政变概念化方面的重要性，并且与这些戏剧时刻相关的理性的悬置是其影响的核心。这种迷人的感觉围绕着戏剧政变中物体的变化状态，有人认为，这与有生命力和无生命力之间的转变有关。通过破坏理性的理解模式，戏剧政变进入了死亡和哀悼的时间性，因为对象占据了双重本体，既有生命的也有无生命的，字面的和隐喻的。将要争论的是，政变是表演中的一个点，在其中感知和记忆，