Abstract The aftermath of the Brexit referendum has revealed a deeply divided Britain, with anger on both sides and seemingly little desire to seek compromise or mutual understanding. Remainers denounce Leavers as ignorant bigots. Leavers denounce Remainers as metropolitan elitists. Theresa May went even further, characterizing supporters of open borders and free movement as ‘citizens of nowhere’ whose lack of attachment to nation suggests they simply don’t understand what citizenship means. Given the UK’s regional correlation between high levels of theatregoing and high support for Remain, this is a challenge for theatremakers and scholars. One strong feature of contemporary British playwriting is a detachment from place; in numerous recent plays, place is estranged, unspecified, annulled, orphaned, globalized, generalized, combined, relativized and scenographically anonymized. Does this represent an absence of nation? No, because this would be to accept the rigid oppositions of the Leave campaign between nations and open borders, between the local and the global. Instead, there is a restless deconstructive movement within the very identification of nation that moves to transcend it and this is captured and embodied in the heterotopic ambiguities of the spatially specific performance of the placeless play.

中文翻译：

---

国家与否定（可怕的愤怒）

摘要 英国脱欧公投的后果揭示了一个深刻分裂的英国，双方都充满愤怒，似乎没有寻求妥协或相互理解的愿望。留欧派谴责离开派是无知的偏执狂。离开者谴责留欧派是大都市精英。特蕾莎·梅走得更远，将开放边界和自由流动的支持者描述为“无处可去的公民”，他们缺乏对国家的依恋，这表明他们根本不了解公民身份的含义。鉴于英国在高水平的戏剧表演和对留欧的高支持率之间存在区域相关性，这对戏剧制作者和学者来说是一个挑战。当代英国剧本创作的一大特点是脱离地方。在最近的许多戏剧中，地方是疏远的、未指明的、被废除的、孤立的、全球化的、普遍化的、结合的，相对化和场景匿名化。这是否代表了民族的缺席？不，因为这将接受国家之间和开放边界、地方和全球之间的休假运动的严格反对。取而代之的是，在超越民族认同的民族认同中，存在着一种不安分的解构运动，这被捕捉并体现在无场所戏剧的空间特定表演的异位模糊性中。