I sketch those characteristics of themise en scèneat the Ring of Brodgar stone circle and associated sites that might solicit within the visitor something like a dynamic performance. Drawing on surrealism, Robert Smithson and archaeology, I argue that themise en scèneat Brodgar – and the visitor's response to it – is characterized by a sense of presence which exists in a dialectical tension with the perception of that which is absent. Brodgar is indexical (like a photograph) and hauntological, in semiotic terms. The Neolithic site is, at some level, unknowable. The visitor becomes aware of coincident yet incompatible manifestations of time and space (heterochronia) and imagines the potential return of unknown, cryptic ritual performances (metatheatre). This solicits within the viewer something akin to Max Ernst's model of frottage. As Breton put it, ‘The imaginary . . . tends to become real’.

中文翻译：

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缺席、在场、索引性：“新石器时代奥克尼的心脏”的场景

我勾勒出这些特征现场安排在布罗德加石圈和相关网站上，可能会在游客中招揽类似动态表演的东西。借鉴超现实主义、罗伯特·史密森和考古学，我认为现场安排在布罗德加——以及参观者对它的反应——的特点是一种存在感，这种存在感与对缺席的感知存在辩证的张力。从符号学的角度来看，布罗德加是索引式的（就像一张照片）和幽灵式的。新石器时代遗址在某种程度上是不可知的。参观者开始意识到时间和空间的巧合但不相容的表现（heterochronia），并想象未知的、神秘的仪式表演（元剧院）的潜在回归。这在观众中引发了类似于 Max Ernst 的 frottage 模型的东西。正如布列塔尼所说，“想象中的。. . 趋于真实”。