Abstract

By using audiences as co-creators of their own experience, participatory theatre becomes imbricated in neoliberal labour practices, characterized by a D-I-Y ethos. At the same time, co-creative audiences are positioned at the privileged centre of a customized, intimate experience that is not only by me, but also for me, and about me. This article explores the tensions between the negative drag of entrepreneurial downloading and the hopeful possibilities for an artistic environment of attentive care. Through analysis of Good Things To Do, a performance created by Christine Quintana and the Good Things collective, it is argued that the dual ontology of theatrical performance, surfaced here through a slippery playful metatheatricality, renders the nature of audience labour ambiguous, assigned an uncertain status between the actual world into the fictional world, between work and play. The playfulness of this ambiguity opens space and potential to escape the sticky web of a neoliberal framework.

摘要

通过将观众作为他们自己经历的共同创造者，参与式剧院与以 DIY 精神为特征的新自由主义劳工实践密不可分。同时，共同创作的观众被定位在定制的、亲密体验的特权中心，这种体验不仅由我自己，而且对我来说，也是关于我的。本文探讨了创业下载的负面拖累与细心照料的艺术环境的希望可能性之间的紧张关系。通过分析Good Things To Do, 由克里斯汀·昆塔纳 (Christine Quintana) 和 Good Things 集体创作的表演，有人认为，戏剧表演的双重本体，通过一种滑溜溜、有趣的超戏剧性在这里浮出水面，使观众劳动的性质变得模棱两可，在现实世界与现实世界之间分配了一个不确定的地位。虚构的世界，介于工作和娱乐之间。这种模棱两可的玩味为逃离新自由主义框架的粘性网络打开了空间和潜力。