How do changes in the perception of the arts stemming from activism, government policies, precarity and the ongoing crises unfolding in the world affect the autonomy of the artist? In this article, I analyse three cases of young and emerging theatre makers in Flanders and Brussels that each deal with the economic, social precarity of the arts, as well as the general precarious state of the world. Camping Sunset, Ne Mosquito Pas, and Anna Franziska Jäger and Nathan Ooms each explore new ways of maintaining autonomy, be it by collective collaboration, creating a network and an aesthetics of failures and cynicism or a performance of overpositivity and a revaluation of the comic. My claim is that these artists find autonomy in the ‘making’ of a work itself, placing poetics back at heart of artistic work instead of performance. I argue that their poetics can be described as a poetics of inoperativity (Agamben), which places resistance and criticality on the level of making theatre and performance itself instead of making large societal claims.

中文翻译：

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浪潮之后，洪水？寻找新的自主权和工作关系

激进主义、政府政策、不稳定性和世界上不断出现的危机对艺术观念的变化如何影响艺术家的自主权？在本文中，我分析了法兰德斯和布鲁塞尔的三个年轻和新兴戏剧制作人的案例，每个案例都涉及艺术的经济、社会不稳定性，以及世界普遍的不稳定状态。Camping Sunset、Ne Mosquito Pas、Anna Franziska Jäger 和 Nathan Ooms 都在探索维持自主的新方法，无论是通过集体合作、创建网络和失败和愤世嫉俗的美学，还是表现过度积极和重新评价漫画。我的主张是，这些艺术家在作品本身的“创作”中找到了自主权，将诗学重新置于艺术作品的核心，而不是表演。非操作性诗学（阿甘本），将阻力和批评置于制作戏剧和表演本身的水平上，而不是提出重大的社会主张。