Abstract Pursuit of Happinessis a 2017 co-production of the American group Nature Theater of Oklahoma and the Slovenia-based, multinational En-Knap dance company. The genre-defying production provocatively misleads the audience through the textual as well as performative aspects of the piece. From slapstick scenes, through dynamic dance movements, all the way to philosophically challenging perceptions about the nature of our reality, the play balances on the edge of timid expressions of existentialist angst, Baudrillardian overload of simulacra, and an attempt to address a mechanical reproduction of art (and life) reminiscent of Walter Benjamin.This contribution endeavours to present an analysis of Pursuit of Happiness as an explosive contemporary piece that portrays a disintegrating world, where fear and anxiety engulf people’s lives as suddenly as the play’s formal structure breaks and changes. Following Jill Dolan’s ruminations about “hopeful performatives”, the paper seeks to plot out a set of such performatives and narratives in the selected play, and to show how they function in the liminal combination of dance and drama, movement and performance, art and life, and how these narratives can become part of what Elliot Leffler and Michael Mellas call divergent dramaturgy.

中文翻译：

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俄克拉荷马州追求幸福的自然剧场中的艺术与舞蹈焦虑：作为充满希望的表演者的基石的人工性、真实性和乐趣

Abstract Pursuit of Happiness 是 2017 年由美国俄克拉荷马自然剧院集团和总部位于斯洛文尼亚的跨国 En-Knap 舞蹈团联合制作的。反流派的制作通过作品的文本和表演方面挑衅性地误导了观众。从闹剧场景，通过动态舞蹈动作，一直到对我们现实本质的哲学挑战，该剧在存在主义焦虑的胆怯表达、鲍德里亚式的拟像过载以及试图解决现实世界的机械再现之间取得平衡。艺术（和生活）让人想起沃尔特·本杰明（Walter Benjamin）。这篇文章致力于将《幸福的追求》作为一个爆炸性的当代作品进行分析，描绘了一个正在瓦解的世界，恐惧和焦虑就像戏剧正式结构的破裂和变化一样突然地席卷了人们的生活。继吉尔·多兰（Jill Dolan）对“充满希望的表演”的反思之后，本文力图在选定的戏剧中绘制出一组这样的表演和叙事，并展示它们如何在舞蹈与戏剧、动作与表演、艺术与生活的界限结合中发挥作用。 ，以及这些叙事如何成为 Elliot Leffler 和 Michael Mellas 所谓的发散性戏剧的一部分。