Abstract Ireland is currently at the mid-point of what has been termed The Decade of Centenaries, where citizens, artists, the Irish diaspora, and the tourist industry are encouraged to come together and reflect on the Ireland of one hundred years ago. The years 1912–1922 reflect some of the most significant moments in Ireland’s history, the centerpiece of which is considered to be the 1916 Easter Rising. State-led commemorations of these events have thus far been dominated by narratives around patriotism, nationalism, republicanism, and neoliberalism. There has been little to no state interest in interrogating any significant challenging of the historical events themselves, or indeed any significant exploration of any progress, changes, or diversification that may have emerged since these events. Much of the available state funding in the arts sector has been earmarked for artists to engage specifically with the commemorative schedule, thus restricting the theme of artistic output. This essay analyses how two participatory performances, which took place during the 2016 Dublin Theatre Festival, problematised the state-led narratives and illuminated divergent histories surrounding the 1916 Easter Rising: These Rooms by ANU Productions and CoisCéim Dance Theatre, and It’s Not Over by THEATREclub.

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“我们的现状”：在爱尔兰的“百年纪念”期间通过表演挑战国家主导的叙事

摘要 爱尔兰目前正处于百年纪念的中点，鼓励公民、艺术家、爱尔兰侨民和旅游业聚集在一起，反思一百年前的爱尔兰。1912 年至 1922 年反映了爱尔兰历史上一些最重要的时刻，其中的核心被认为是 1916 年的复活节起义。迄今为止，由国家主导的对这些事件的纪念活动一直以围绕爱国主义、民族主义、共和主义和新自由主义的叙事为主。国家几乎没有兴趣询问历史事件本身的任何重大挑战，或者实际上对自这些事件以来可能出现的任何进展、变化或多样化进行任何重大探索。艺术部门的大部分可用国家资金已指定用于艺术家专门参与纪念活动，从而限制了艺术输出的主题。本文分析了 2016 年都柏林戏剧节期间发生的两场参与式表演如何对国家主导的叙事提出问题并阐明围绕 1916 年复活节起义的不同历史：这些房间由澳大利亚国立大学制作公司和 CoisCéim 舞蹈剧院，以及剧院俱乐部尚未结束.