Tania Bruguera’s commission for the Tate Modern, London (October –February ) responds to the recent global migration crisis by offering visitors, and the local community, opportunities to engage with some of its data, imagery and effects. A central feature of the Turbine Hall installation is a heat-sensitive floor, which when touched or laid upon by visitors releases bodily imprints in ghostly grey. A portrait of Yousef – killed while fleeing Syria for London – materializes if enough bodies lie on the floor at the same time. Surging from speakers along the back wall, Kode’s (Steve Goodman) unnerving ,-watt electronic soundscape makes it difficult to get too comfortable in this deceptively frivolous playpen. The given title of the Cuban artist’s piece is actually an ever-escalating figure that captures the number of recorded migrations the year prior to the artwork’s opening, and the number of deaths since the project began – at the time of writing, ,,. An updated figure is stamped on each visitor’s arm as we enter the crying room, a small space to the side of the main floor which is flooded with a tingly menthol compound that quickly leads to tears. The accompanying statement claims that the room is intended to provoke ‘forced empathy’, explained as Bruguera’s attempt to counter apathy through emotional display. ‘Crying together in public breaks down our social barriers and leads to a shared emotional encounter’, the text reads. Bruguera’s installation invites us to engage with some of the sensorial and emotional effects of migration through movement – often subtle, sometimes coercive. But it also asks us to think about the relationship between different forms of movement, including migration processes, performed gestures, emotional responses and sociopolitical formations. Can bodies playfully moving together in a gallery (or theatre) adequately summon or honour migration’s recent traumas? Does a reflex physiological response expose or precipitate emotional conviction? Might a physical action index a genuine political commitment, or contribute to – even inaugurate – a movement? During a time when the free and safe movement of people (and goods) is under threat, including along UK borders as it prepares to leave the European Union, can performance help us to conceive or craft new lines of action and connection? The articles in this issue are all concerned with movement and its formal dimensions, sociopolitical underpinnings, emotional registers and cultural effects. Of course, you could argue that all theatre is concerned with movement at some level, but the writings gathered here share an interest in the particularities of different movement forms and dynamics, across diverse theatre and performance practices and contexts. Authors explore how the interactions of staged, mediated and worldly movement expand or remap our understandings of history, tradition and culture by theatre research international · vol.  | no.  | pp– © International Federation for Theatre Research  · doi:10.1017/S0307883318001037

中文翻译：

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社论：论移动与被移动

Tania Bruguera 的伦敦泰特现代美术馆委员会（10 月 – 2 月）通过为游客和当地社区提供参与其中一些数据、图像和效果的机会来应对最近的全球移民危机. 涡轮大厅装置的一个中心特征是一个热敏地板，当游客触摸或放置时，它会释放出幽灵般的灰色身体印记。如果有足够多的尸体同时躺在地板上，Yousef 的肖像——在逃离叙利亚前往伦敦时被杀——就会出现。Kode (Steve Goodman) 令人不安的, 瓦特电子音景从扬声器沿着后墙涌出，让人很难在这个看似轻浮的游戏围栏里感到太舒服。古巴艺术家作品的给定标题实际上是一个不断升级的数字，它记录了艺术品开放前一年记录的迁移数量，以及自项目开始以来的死亡人数——在撰写本文时，， ，。当我们进入哭泣室时，每个访客的手臂上都印有一个更新的数字，这是主楼层一侧的一个小空间，里面充满了一种会很快流下眼泪的刺激性薄荷醇化合物。随附的声明声称房间旨在激发“强迫同理心”，将其解释为布鲁格拉试图通过情感展示来对抗冷漠。文中写道：“在公共场合一起哭泣打破了我们的社交障碍，并导致了共同的情感相遇”。Bruguera 的装置邀请我们通过运动来体验迁移带来的一些感官和情感影响——通常是微妙的，有时是强制性的。但它也要求我们思考不同形式的运动之间的关系，包括迁移过程、表演的手势、情绪反应和社会政治形态。在画廊（或剧院）中嬉戏地一起移动的身体能否充分唤起或尊重移民最近的创伤？反射性生理反应是否暴露或促成了情感信念？一项实际行动是否可能表明真正的政治承诺，或有助于——甚至开创——一场运动？在人员（和货物）的自由和安全流动受到威胁的时候，包括准备离开欧盟的英国边境，绩效能否帮助我们构思或制定新的行动路线和联系？本期文章都与运动及其形式维度、社会政治基础、情感记录和文化影响有关。当然，您可能会争辩说，所有戏剧都在某种程度上与运动有关，但这里收集的著作对不同的运动形式和动态的特殊性有着共同的兴趣，跨越不同的戏剧和表演实践和背景。作者通过戏剧研究国际·第 1 卷探索舞台、中介和世俗运动的相互作用如何扩展或重新映射我们对历史、传统和文化的理解。 | 不。 | pp–©国际戏剧研究联合会·doi:10.1017/S0307883318001037 社会政治基础、情感记录和文化影响。当然，您可能会争辩说，所有戏剧都在某种程度上与运动有关，但这里收集的著作对不同的运动形式和动态的特殊性有着共同的兴趣，跨越不同的戏剧和表演实践和背景。作者通过戏剧研究国际·第 1 卷探索舞台、中介和世俗运动的相互作用如何扩展或重新映射我们对历史、传统和文化的理解。 | 不。 | pp–©国际戏剧研究联合会·doi:10.1017/S0307883318001037 社会政治基础、情感记录和文化影响。当然，您可能会争辩说，所有戏剧都在某种程度上与运动有关，但这里收集的著作对不同的运动形式和动态的特殊性有着共同的兴趣，跨越不同的戏剧和表演实践和背景。作者通过戏剧研究国际·第 1 卷探索舞台、中介和世俗运动的相互作用如何扩展或重新映射我们对历史、传统和文化的理解。 | 不。 | pp–©国际戏剧研究联合会·doi:10.1017/S0307883318001037 但这里收集的著作对不同的运动形式和动态的特殊性，跨越不同的戏剧和表演实践和背景有着共同的兴趣。作者通过戏剧研究国际·第 2 卷探索舞台、中介和世俗运动的相互作用如何扩展或重新映射我们对历史、传统和文化的理解。 | 不。 | pp–©国际戏剧研究联合会·doi:10.1017/S0307883318001037 但这里收集的著作对不同的运动形式和动态的特殊性，跨越不同的戏剧和表演实践和背景有着共同的兴趣。作者通过戏剧研究国际·第 1 卷探索舞台、中介和世俗运动的相互作用如何扩展或重新映射我们对历史、传统和文化的理解。 | 不。 | pp–©国际戏剧研究联合会·doi:10.1017/S0307883318001037