Reviewed by:

• Performing Statelessness In Europe by S.E. Wilmer
• Susan Tenneriello

Performing Statelessness in Europe is a timely addition to the study of how performance intervenes into the politics of migration, the dispossessed, and nation-state borders. It presents a lucid series of case studies of European theatre practices by and about refugees and the displaced that engage with the ongoing political dynamics of the European Union's migrant policies. The EU's immigration system comprises an evolving arrangement of measures and agreements on migration, border control, security plans, and asylum procedures that have come to function as more of a barrier to migration than an effective solution. The lack of a cohesive approach has compounded the EU's ability to manage the large flow of people fleeing war, instability, and authoritarian rule in the Middle East, Africa, and Asia since 2015. Refugee and asylum seekers who do arrive in the EU, often by treacherous boat crossings or illegal smuggling networks, may also encounter xenophobic sentiments in the host nation-state, partly due to the rise of nationalist movements across Europe. The complexities of this situation—fueled by divergent policies, procedures, and attitudes—shape S.E. Wilmer's focus on performance strategies that "address matters relating to social justice" (2). Conditions of statelessness and the dispossessed therefore form the basis of this inquiry into a wide range of work, spanning decades, by creative artists and theatre-makers in the UK, Ireland, Germany, and other European nation-states. They demonstrate the variety of perspectives and practices across projects using adaptation, documentary drama, immersive theatre, parody, and subversion.

The first half of the book examines text-based performances that critique or document the actions of the nation-state. After a brief introduction, the second chapter considers a range of adaptations of ancient Greek tragedy, including works by Seamus Heaney (The Burial at Thebes, 2004), Marina Carr (By the Bog of Cats, 1998), and Elfriede Jelinek (Charges [Die Schutzhefohlenen], 2014). Wilmer demonstrates how the treatment of the rights of the dispossessed, marginalized, and disenfranchised in these dramas—based on Sophocles' Antigone, Euripides' Medea, and Aeschylus' The Suppliants, respectively—"easily lend themselves to the issue of refugees today" (11), challenging sovereign power and nationalist myth in a post-9/11 environment in which nation-states wield the rule of law to deny citizens, refugees, or asylum seekers legal rights. Wilmer connects the ancient Greek concept of hospitality, or social duty, to ethical claims made by modern philosophers. In particular, he develops theories of biopolitics by Giorgio Agamben and Judith Butler by sifting through the performative responses to the vulnerable ontological status of refugees and asylum seekers. Agamben's theorization of the "states of exception" that produce homo sacer, or "bare life"—implying a life with "no ethical value, thus a person who can be killed with impunity" (15)—is a thread that runs throughout the book.

This framework of collective ethics also grounds the selection and organization of the book's case studies. Chapter 3 examines the dramaturgical use of identification to inspire empathy for the dangers experienced by the main characters. Examples include [End Page 543] Donal O'Kelly's Asylum! Asylum! (1994), which depicts an asylum seeker from Uganda caught up in arbitrary border controls and anti-immigrant hostility in Ireland; and Anders Lustgarten's Lampedusa (2015), composed of interlinking monologues detailing the plight of a refugee who survived a boat crossing from Africa to Italy. Each play mediates the audience's point of view through a European "helper" figure (4), providing an alternative perspective on the characters and politics. Wilmer likens this affective strategy to that used by the Brechtian Lehrstück, or teaching play (51). Chapter 4 covers various forms of documentary theatre, including autobiographical, tribunal, and verbatim theatre. Some of these performances were scripted, such as Maxi Obexer's Illegal Helpers (Illegale Helfer, 2016), while others, like Yael Ronen's Common Ground (2015), which recounts the effects of the war in Yugoslavia, were devised and performed by Balkan refugees whose bodies serve as witnesses to their own performances (83). Wilmer's cumulative...

审核人：

• SE Wilmer在欧洲表演无国籍状态
• 苏珊·特纳里耶洛（Susan Tenneriello）

在欧洲无国籍状态是对绩效如何干预移民政治，被剥夺者和民族国家边界的研究的及时补充。它提供了一系列清晰的案例研究，这些案例研究了难民和流离失所者以及与之相关的欧洲战区实践，这些案例与欧洲联盟移民政策的持续政治动态息息相关。欧盟的移民体系包括有关移民，边境管制，安全计划和庇护程序的措施和协议的不断发展的安排，这些措施和协议比有效的解决方案更多地成为了移民的障碍。自2015年以来，缺乏凝聚力的方法加剧了欧盟处理来自中东，非洲和亚洲的逃离战争，不稳定和独裁统治的大批人员的能力。确实抵达欧盟的难民和寻求庇护者 通常是通过危险的渡船通道或非法走私网络，在东道国也可能遇到仇外情绪，部分原因是欧洲各地民族主义运动的兴起。由于政策，程序和态度的差异，这种情况的复杂性决定了SE Wilmer对“解决与社会正义有关的问题”的绩效策略的关注（2）。因此，无国籍状态和被剥夺者的条件构成了对这项跨越数十年的研究的基础，该研究跨越了数十年来，英国，爱尔兰，德国和其他欧洲民族国家的创意艺术家和剧院制作者。他们使用改编，纪录片戏剧，沉浸式剧院，模仿模仿和颠覆来展示整个项目的各种观点和实践。在东道国也可能会遇到仇外情绪，部分原因是欧洲各地民族主义运动的兴起。由于政策，程序和态度的差异，这种情况的复杂性决定了SE Wilmer对“解决与社会正义有关的问题”的绩效策略的关注（2）。因此，无国籍状态和被剥夺者的条件构成了对这项跨越数十年的研究的基础，该研究跨越了数十年来，英国，爱尔兰，德国和其他欧洲民族国家的创意艺术家和剧院制作者。他们使用改编，纪录片戏剧，沉浸式剧院，模仿模仿和颠覆来展示整个项目的各种观点和实践。在东道国也可能会遇到仇外情绪，部分原因是欧洲各地民族主义运动的兴起。由于政策，程序和态度的差异，这种情况的复杂性决定了SE Wilmer对“解决与社会正义有关的问题”的绩效策略的关注（2）。因此，无国籍状态和被剥夺者的条件构成了对这项跨越数十年的研究的基础，该研究跨越了数十年来，英国，爱尔兰，德国和其他欧洲民族国家的创意艺术家和剧院制作者。他们使用改编，纪录片戏剧，沉浸式剧院，模仿模仿和颠覆来展示整个项目的各种观点和实践。部分原因是欧洲各地民族主义运动的兴起。由于政策，程序和态度的差异，这种情况的复杂性决定了SE Wilmer对“解决与社会正义有关的问题”的绩效策略的关注（2）。因此，无国籍状态和被剥夺者的条件构成了对这项跨越数十年的研究的基础，该研究跨越了数十年来，英国，爱尔兰，德国和其他欧洲民族国家的创意艺术家和剧院制作者。他们使用改编，纪录片戏剧，沉浸式剧院，模仿模仿和颠覆来展示整个项目的各种观点和实践。部分原因是欧洲各地民族主义运动的兴起。由于政策，程序和态度的差异，这种情况的复杂性决定了SE Wilmer对“解决与社会正义有关的问题”的绩效策略的关注（2）。因此，无国籍状态和被剥夺者的条件构成了对这项跨越数十年的研究的基础，该研究跨越了数十年来，英国，爱尔兰，德国和其他欧洲民族国家的创意艺术家和剧院制作者。他们使用改编，纪录片戏剧，沉浸式剧院，模仿模仿和颠覆来展示整个项目的各种观点和实践。

本书的前半部分考察了批评或记录民族国家行动的基于文本的表演。一个简短的介绍之后，第二章中考虑了一系列古希腊悲剧改编的，包括谢默斯·希尼（作品在底比斯葬礼，2004年），玛丽娜·凯尔（通过猫的沼泽，1998），和耶利内克（收费[ [Die Schutzhefohlenen]，2014年）。威尔默（Wilmer）展示了如何根据Sophocles的《Antigone》，Euripides的《Medea》和Aeschylus的《The Suppliants》处理这些戏剧中被剥夺，边缘化和被剥夺权利的权利的处理方法。分别是“在今天轻松地解决难民问题”（11），在9/11后的环境中挑战民族国家的主权和民族主义神话，在这种环境中，民族国家运用法治否认公民，难民或庇护寻求者的合法权利。威尔默将古希腊的款待或社会义务概念与现代哲学家的伦理主张联系起来。尤其是，他通过筛选对难民和寻求庇护者脆弱的本体论状态的表现性回应，发展了乔治·阿甘本（Giorgio Agamben）和朱迪思·巴特勒（Judith Butler）的生物政治理论。阿甘本（Agamben）对“例外状态”的理论化，这种例外状态会产生同质的生活，即“光秃秃的生命”，这意味着生命具有“没有道德价值，因此可以被逍遥法外杀害的人”

这种集体伦理的框架也为本书案例研究的选择和组织奠定了基础。第三章考察了戏剧性地运用身份认同来激发同情者对主要角色所经历的危险。例如[End Page 543] Donal O'Kelly的庇护！庇护！（1994），描绘了来自乌干达的寻求庇护者陷入爱尔兰的任意边境管制和反移民敌对状态；和安德斯·鲁斯特加滕（Anders Lustgarten）的兰佩杜萨（Lampedusa）（2015），由相互联系的独白组成，详细描述了从非洲到意大利的渡船幸存的难民的困境。每个剧本都通过欧洲的“辅助人物”（4）来调解观众的观点，为角色和政治提供另一种视角。威尔默（Wilmer）将这种情感策略比作布莱希特·莱斯特克（BrechtianLehrstück）或教学戏剧所使用的策略（51）。第四章介绍了各种形式的纪实剧院，包括自传，法庭和逐字剧院。其中一些表演是脚本编写的，例如Maxi Obexer的《非法帮手》（Illegale Helfer，2016年），而其他表演，例如Yael Ronen的《共同点》（2015年）讲述了南斯拉夫战争的影响，是由巴尔干难民设计和表演的，他们的尸体充当了自己的表演的见证人（83）。威尔默的累积...