ABSTRACT In 2011, Reading-based theatre collective In Good Company devised an anti-austerity play called The Pact. The collapse of the sub-prime mortgage market as the backdrop of the 2007/8 financial crisis, and the impact on UK housing and homelessness of early policies of the coalition government, meant that themes of home circulated in the performance. Home also functioned in the performance less literal ways. The production attempted to agitate by voicing local dissent and to build an activist network through its rehearsals, which were open to the public. Drawing on community organising theory, the article proposes that rehearsals offer a suitable home for political organising, where participants work closely and critically together towards a common goal. It also explores, through the lens of home, how critical and emotional engagements offer a potent combination in performance and argues that strong feelings triggered by The Pact were integral to audience members’ awareness of themselves and each other in a specific context. At the time of writing, local councils across the UK are going bankrupt and The Pact’s dismal economic forecast looks conservative against impacts of social-spending cuts and accelerated privatisation (Sleator 2018). It is therefore important to review effective activist practice in order to inform further activity.

中文翻译：

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家是心所在：反紧缩表现中的建设、归属感和情感投入

摘要 2011 年，以雷丁为基地的戏剧团体 In Good Company 设计了一部名为 The Pact 的反紧缩剧。以2007/8年金融危机为背景的次级抵押贷款市场崩溃，以及联合政府早期政策对英国住房和无家可归的影响，意味着房屋主题在表演中流传。家庭也以表现较少的文字方式发挥作用。该剧试图通过表达当地的异议来鼓动民众，并通过向公众开放的排练来建立一个激进分子网络。文章借鉴社区组织理论，提出排练为政治组织提供了一个合适的场所，参与者在那里密切和批判性地为实现共同目标而共同努力。它还通过家的镜头探索，批判性和情感性参与如何在表演中提供有效的组合，并认为由 The Pact 引发的强烈感受对于观众成员在特定环境中对自己和彼此的认识是不可或缺的。在撰写本文时，英国各地的地方议会都将破产，而 The Pact 惨淡的经济预测对于削减社会开支和加速私有化的影响显得较为保守（Sleator 2018）。因此，重要的是要审查有效的激进主义实践，以便为进一步的活动提供信息。英国各地的地方议会都将破产，而 The Pact 惨淡的经济预测在社会开支削减和加速私有化的影响方面显得保守（Sleator 2018）。因此，重要的是要审查有效的激进主义实践，以便为进一步的活动提供信息。英国各地的地方议会都将破产，而 The Pact 惨淡的经济预测在社会开支削减和加速私有化的影响方面显得保守（Sleator 2018）。因此，重要的是要审查有效的激进主义实践，以便为进一步的活动提供信息。