What political theatre may be in contemporary times and in what sense it is ‘political’ are the core issues of this article. Maria Shevtsova discusses examples from within a restricted period, 2007 to 2014, but from a wide area that begins in Eastern Europe – Russia, Romania, Hungary, Poland – and moves to Germany and France. Her examples are principally productions by established ensemble theatre companies and her analysis is framed by a brief discussion concerning independent theatres, ‘counter-cultural’ positions, and institutional and institutionalized theatres. This latter group is in focus to indicate how political theatre in the seven years specified has been far from alien to, or sidelined from, national theatres, state theatres, or other prestigious companies in receipt of state subsidy. Two main profiles of recent political theatre emerge from this research, one that acknowledges political history, while the other critiques neoliberal capitalism; there is some unpronounced overlap between the two. Productions of Shakespeare feature significantly in the delineated theatrescape. Maria Shevtsova is co-editor of New Theatre Quarterly and Professor of Drama and Theatre Arts at Goldsmiths, University of London. Her most recent book (co-authored) is The Cambridge Introduction to Theatre Directing (2013).

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欧洲政治剧场：从东到西，2007-2014

什么政治戏剧在当代可能是什么，在什么意义上它是“政治的”，是本文的核心问题。Maria Shevtsova 讨论了从 2007 年到 2014 年的有限时期内的例子，但从东欧开始的广泛地区——俄罗斯、罗马尼亚、匈牙利、波兰——并转移到德国和法国。她的例子主要是由成熟的综合剧院公司制作的作品，她的分析是通过对独立剧院、“反文化”立场以及制度化和制度化剧院的简短讨论来构建的。后一组的重点是表明在指定的七年中，政治剧院与国家剧院、国家剧院或其他接受国家补贴的著名公司远非异类或被边缘化。从这项研究中得出了近期政治戏剧的两个主要概况，一个承认政治历史，而另一个批评新自由主义资本主义；两者之间有一些不明显的重叠。莎士比亚的作品在所描绘的戏剧景观中占有重要地位。Maria Shevtsova 是新剧场季刊伦敦大学金史密斯学院戏剧和戏剧艺术教授。她最近的一本书（合着）是剑桥戏剧导演导论（2013）。