If spectacles are effects of power, designed to win wars, win elections and win customers, then how can these spectacles be better understood, so that we can better understand how they seek to work on us and others around us? And what part can theatre play in developing this understanding? In this article I explore Jean-Luc Nancy's notion of ‘violence without violence’, as set out in his essay ‘Image and Violence’ (2003). The synthesis of life's variety and disarray into an artwork is a violent act for Nancy. But if this violent act itself explodes the very seams which hold it together, it can enable ruptures or openings that prevent its violence from becoming ideologically oppressive. In this way the image inevitably participates in the ‘violence’ of representation, but simultaneously avoids the ‘violence’ of ideology. By way of an example I analyse the singular ways in which Lola Arias's productionMINEFIELD– first staged at the Brighton Festival in 2016 before transferring to the Royal Court Theatre during the London International Festival of Theatre (LIFT) – disarticulated the spectacles of power, heroism and virtuosity that are often weaponized by leaders and by the dominant media for the purposes of fighting and winning wars.

中文翻译：

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“没有暴力的暴力”：奇观、战争和 Lola Arias 的《MINEFIELD/CAMPO MINADO》

If spectacles are effects of power, designed to win wars, win elections and win customers, then how can these spectacles be better understood, so that we can better understand how they seek to work on us and others around us? 戏剧在发展这种理解方面可以发挥什么作用？在这篇文章中，我探讨了让-吕克·南希（Jean-Luc Nancy）的“没有暴力的暴力”的概念，正如他的文章“形象与暴力”（2003 年）中所阐述的那样。将生活的多样性和混乱综合成一件艺术品对南希来说是一种暴力行为。但是，如果这种暴力行为本身破坏了将其结合在一起的缝隙，它就会导致破裂或开口，从而防止其暴力成为意识形态上的压迫性。这样一来，图像不可避免地参与了表征的“暴力”，同时又避免了意识形态的“暴力”。雷场– 首次在 2016 年的布莱顿艺术节上演，然后在伦敦国际戏剧节 (LIFT) 期间转移到皇家宫廷剧院 – 打破了权力、英雄主义和精湛技艺的景象，这些景象经常被领导人和主流媒体为此目的而武器化战斗和赢得战争。