Exceptional in demonstrating the political engagement emerging in twenty-first-century performance is the corpus of the writer and director Milo Rau, whose practice is distinguished by its (re)meditation of the real. With detailed reference to Mitleid (2016) and La Reprise (2018), this article examines Rau’s self-reflexive strategies in (re)presenting testimony or an event as a means not of depicting the real, but of making the theatrical representation itself real in order to change the world rather than merely to portray it. The article focuses in particular on strategies relating to the actor-character and spectatorship. Rau’s interest in the positions of the actor and spectator illuminates issues that have arisen in the discourse of theatre witnessing and in recent scholarship on dramaturgical approaches and spectatorship in contemporary political performance. Essentially, Rau makes the performer’s habitus transparent, and challenges the spectator’s reflexivity, effectively rebutting the largely unchallenged assumption that characters who perform witnesses necessarily leave little room for the spectator to be a performing witness. Stuart Young is Professor of Theatre Studies at the University of Otago. His recent publications include the co-edited Ethical Exchanges: Translation, Adaptation, Dramaturgy (Brill Rodopi, 2017), while his practice-led research into Theatre of the Real includes The Keys are in the Margarine: A Verbatim Play about Dementia (2014).

中文翻译：

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使再现成为现实：Milo Rau 的“戏剧散文”Mitleid 和 La Reprise 中的演员和观众

作家兼导演米洛·劳（Milo Rau）的语料库在展示 21 世纪表演中出现的政治参与方面表现出色，其实践以对现实的（重新）冥想而著称。详细参考米特莱德（2016）和重演（2018 年），本文探讨了 Rau 在（重新）呈现证词或事件中的自我反省策略，作为一种手段，而不是描绘真实，而是使戏剧表现本身真实，以改变世界，而不仅仅是描绘它. 本文特别关注与演员角色和观众有关的策略。Rau 对演员和观众立场的兴趣阐明了戏剧见证话语和近期关于当代政治表演中的戏剧方法和观众的学术研究中出现的问题。本质上，劳让表演者的习性变得透明，挑战观众的反身性，有效地反驳了在很大程度上不受质疑的假设，即扮演证人的角色必然会为观众作为表演证人留下很少的空间。Stuart Young 是奥塔哥大学戏剧研究教授。他最近的出版物包括共同编辑的伦理交流：翻译、改编、戏剧（Brill Rodopi，2017 年），而他以实践为主导的真实剧院研究包括钥匙在人造黄油里：关于痴呆症的逐字游戏（2014）。