Jauría (2019) was the first tribunal verbatim play in Spain and it had a great impact on audiences in the context of heated debate about how national legislation had a long-standing legacy of sexism. Based on the transcripts of the legal proceedings of the La Manada gang-rape case, Jauría not only clarifies this controversial case for different types of audiences, but it also poses very important questions concerning the nature of rape and how the judicial system treats the victims of rape. This article studies the performative force of tribunal verbatim in shaping the audience’s understanding of an actual gang-rape case and indicates how a feedback loop is created in the performance itself, transforming the spectators’ attitudes. Svetlana Antropova is a lecturer at Villanueva University in Madrid. Her recent publications include ‘Filming Trauma: Bodiless Voice and Voiceless Bodies in Beckett’s Eh Joe’, in Elspeth McInnes and Danielle Schaub, eds., What Happened? Re-presenting Traumas, Uncovering Recoveries (Brill/Rodopi 2019), and ‘De/Construction of Visual Stage Image in Samuel Beckett’s Play’ (Anagnórisis: Revista de Investigación Teatral, XXII, 2020). Elisa García Mingo is an associate professor in Sociology at the Universidad Complutense de Madrid and is an associate member of the Centre for Transforming Sexualities and Gender at the University of Brighton.

中文翻译：

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西班牙法庭剧场：Jauría 和 La Manada Gang Rape

焦里亚（2019 年）是西班牙第一部逐字法庭剧，在关于国家立法如何长期存在性别歧视遗产的激烈辩论的背景下，它对观众产生了巨大影响。根据拉马纳达轮奸案的法律程序记录，焦里亚不仅为不同类型的观众澄清了这个有争议的案件，而且还提出了关于强奸的性质以及司法系统如何对待强奸受害者的非常重要的问题。本文研究了法庭逐字逐句在塑造观众对实际轮奸案的理解方面的表演力量，并指出了如何在表演本身中形成反馈循环，从而改变观众的态度。Svetlana Antropova 是马德里维拉纽瓦大学的讲师。她最近的出版物包括“拍摄创伤：贝克特的无声之声和无声的身体”嗯乔'，在 Elspeth McInnes 和 Danielle Schaub 编辑中，发生了什么？重新呈现创伤，发现康复（Brill/Rodopi 2019）和塞缪尔·贝克特的“视觉舞台形象的去/建构”玩' (Anagnórisis: Revista de Investigación Teatral，二十二，2020）。Elisa García Mingo 是马德里康普顿斯大学社会学副教授，也是布莱顿大学性与性别转变中心的准成员。