ABSTRACT

After the economic crisis of 2008, Portugal, like other European countries, underwent a readjustment programme based on neo-liberal principles. This programme widened the gap between rich and poor and elevated the economic over the social, the political and the affective. This paper analyses the devised performance Eis o Homem (Behold Man) as both an artistic and intellectual intervention in this context of crisis. It suggests that collaboration between artists on an explicitly non-hierarchical basis functioned as a coping mechanism for both the artists involved and the audience. The material generated during rehearsals contrasted the powerful reality of life as lived by Portuguese citizens during this period with the Real, that, as Slavoj Zizek has argued, masked this reality with social discourses that emphasized that there was no alternative to the dominance of the market. It concludes that such forms of theatrical collaboration, which explicitly contemplate the right to dissensus, can lead to complex, transformative responses to social situations and to dialogically-informed performances.

摘要

2008 年经济危机后，葡萄牙与其他欧洲国家一样，经历了基于新自由主义原则的调整计划。该计划扩大了贫富差距，将经济置于社会、政治和情感之上。本文将设计的表演Eis o Homem (Behold Man) 分析为在这种危机背景下的艺术和智力干预。它表明，艺术家之间在明确的非等级基础上的合作对于所涉及的艺术家和观众来说都是一种应对机制。排练期间产生的材料将葡萄牙公民在此期间生活的强大现实与真实，正如斯拉沃伊·齐泽克（Slavoj Zizek）所说，用强调市场主导地位别无选择的社会话语掩盖了这一现实。它的结论是，这种形式的戏剧合作，明确考虑了不同意见的权利，可以导致对社会情境和对话式表演的复杂、变革性反应。