Abstract During his short lifetime, Reza Abdoh (1963–1995) was hailed as a trailblazing theater artist in the avant-garde art scenes of both Los Angeles and New York, where he created a series of massive performance spectacles that sought to intervene critically in the American political status quo. His 1992 piece The Law of Remains stages a furious response to the US American AIDS crisis, depicting it through the allegorical lens of a film being made by Andy Warhol based on the life of queer serial killer and cannibal Jeffrey Dahmer. Performed in the ruins of an abandoned hotel ballroom, the piece drew attention in The New York Times for being “one of the angriest theater pieces ever hurled at a New York audience.” This article analyzes the political dimension of Abdoh’s theater by focusing on specific gestural elements that occur at key moments in The Law of Remains. Doing so, it brings together theories of gesture from Hans-Thies Lehmann, Giorgio Agamben, Judith Butler, and Walter Benjamin, and configures these viewpoints into a constellation through which the politics of gesture in Abdoh can be illuminated. What emerges in Abdoh is a politics of “hopeless hope,” one uniquely meaningful for our planetary present tense.

中文翻译：

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激进的姿态与后戏剧悲剧的政治：礼萨·阿卜杜（Reza Abdoh）的《遗存法则》

摘要 Reza Abdoh（1963-1995）在他短暂的一生中被誉为洛杉矶和纽约前卫艺术界的先驱戏剧艺术家，在那里他创作了一系列大规模的表演奇观，试图批判性地介入美国的政治现状。他 1992 年的作品《遗存法则》（The Law of Remains）对美国的艾滋病危机进行了激烈的回应，通过安迪·沃霍尔（Andy Warhol）根据酷儿连环杀手和食人者杰弗里·达默（Jeffrey Dahmer）的生活制作的电影的寓言镜头来描绘它。在废弃的酒店舞厅的废墟中演出，这件作品引起了《纽约时报》的关注，因为它是“有史以来向纽约观众投掷的最愤怒的戏剧作品之一。” 本文通过关注《遗存法则》中关键时刻出现的特定手势元素，分析了阿卜杜剧院的政治维度。这样做，它汇集了汉斯-蒂斯·莱曼、乔治·阿甘本、朱迪思·巴特勒和沃尔特·本杰明的手势理论，并将这些观点配置成一个星座，通过它可以阐明阿卜杜的手势政治。Abdoh 出现的是一种“绝望的希望”的政治，对我们的行星现在时具有独特的意义。