February 2010. The lights are off. As I adjust to the dark I can make out shapes of others scattered around the room. Disoriented and uncertain I wait for some sign or direction of what to do. The air is thick with anticipation, but as time drags it becomes clear that no instructions are coming. Then it begins all around me. Sat in the dark in a workshop in the courtroom studio of Toynbee Studios, I begin to feel anxious. I see the outline of another body in front of me and I panic. I should do something. I reach for anything that might keep things working, that might keep play going. Does anyone want to dance, I ask. I waltz. I sense someone dancing behind me.In what follows I think through my participation in a 2010 workshop led by Anne Bean, recounted in part above, to understand better the role of play in the conditions of production for theatre and performance under capital. Bean is an interdisciplinary artist, belonging to (or claimed by) multiple experimental art scenes, including visual, performance, and sound art, who has been a central figure of European live art since the 1970s. The workshop, which was conducted largely in the dark and focused on the aestheticization of cooperation through an emphasis on its participants doing play was held at Artsadmin's Toynbee Studios, the influential UK arts producing organization's home in East London. This article puts my account of Bean's workshop in conversation with Victorian economist Arnold Toynbee's demand for a new capitalist morality. Toynbee's appeal was, of course, not directed at me or the other workshop participants disoriented and uncertain in the dark. But, I argue, the situation of play that arose in Bean's workshop is a contemporary iteration of what Toynbee called agospel of life,a term referring to a commitment to self and civic betterment at the core of a burgeoning capitalist morality. The connection between the shaping of Victorian labor practices and the staging of cooperation between participants in Bean's contemporary workshop is the basis for this essay's core assertion: that the value of play as a counterpoint to work within practices and discourses of theatre and performance needs considerable rethinking.

中文翻译：

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游戏的召唤：Artsadmin 的新工作和劳动力

2010 年 2 月。灯熄灭了。当我适应黑暗时，我可以辨认出散落在房间里的其他人的形状。迷失方向和不确定我等待一些迹象或方向来做什么。空气中充满了期待，但随着时间的推移，很明显没有任何指示即将到来。然后它开始在我周围。黑暗中坐在汤因比工作室法庭工作室的工作室里，我开始感到焦虑。我看到面前另一具尸体的轮廓，我惊慌失措。我应该做点什么。我伸手去拿任何可以让事情继续运转、可以让比赛继续进行的东西。有人想跳舞吗，我问。我华尔兹。我感觉到有人在我身后跳舞。在接下来的内容中，我想通过参加由 Anne Bean 领导的 2010 年研讨会（上面部分叙述了），以更好地了解戏剧在资本条件下的戏剧和表演生产条件中的作用。比恩是一位跨学科艺术家，属于（或声称拥有）多个实验艺术场景，包括视觉、表演和声音艺术，自 1970 年代以来一直是欧洲现场艺术的核心人物。该研讨会主要在黑暗中进行，重点是通过强调参与者进行游戏来实现合作的审美化，该研讨会在英国有影响力的艺术制作组织位于东伦敦的总部——Artsadmin 的 Toynbee 工作室举行。本文将我对 Bean 工作室的描述与维多利亚时代经济学家阿诺德·汤因比 (Arnold Toynbee) 进行对话 对新资本主义道德的要求。当然，汤因比的呼吁并不是针对我或其他在黑暗中迷失方向和不确定的研讨会参与者。但是，我认为，在比恩的工作室中出现的游戏情境是汤因比所谓的生命的福音，这个术语指的是在新兴的资本主义道德的核心对自我和公民改善的承诺。维多利亚时代劳动实践的形成与比恩当代工作室参与者之间的合作阶段之间的联系是本文核心主张的基础：在戏剧和表演的实践和话语中，游戏的价值需要大量重新思考.