Abstract:

This essay proposes a theory of (post)-pandemic performance that reconceives the theatre, via its buildings, as installation. Innovations designed to navigate theatre-making within the context of pandemic, and the imperatives of online and physically distanced productions, open new perspectives on theatre’s projects and venues. Taking installation as its primary optic, the essay reviews two recent performance events: Black Box, a physically distanced audio tour staged by Berlin-based theatre company Rimini Protokoll at Schauspiel Stuttgart in 2021, and The Way Out (2020), a digital performance directed by British filmmaker Suri Krishnamma and recorded at Battersea Arts Centre, London. These productions restage entire arts centers as installational encounters to explore how theatre might address itself to its histories and futures. Taking the form of theatrical tours, the events encompass areas beyond the stage that are functional or transitional, raising questions not only about how we move through specific performance spaces, but also how we position ourselves in relation to theatre’s institutions. In (post)-syndemic theatre, the installational thus gives view onto both the physical-material of theatre’s buildings and representational tools, and the institutional in its structures of power.

摘要：

本文提出了一种（后）流行病表演理论，通过其建筑将剧院重新构想为装置。旨在在大流行的背景下引导戏剧制作的创新，以及在线和物理距离制作的必要性，为戏剧项目和场地开辟了新的视角。文章以装置为主要视角，回顾了最近的两场表演活动：Black Box，由柏林剧院公司 Rimini Protokoll 于 2021 年在斯图加特剧院上演的物理距离音频巡演，以及The Way Out（2020 年），由英国电影制片人 Suri Krishnamma 执导并在伦敦巴特西艺术中心录制的数字表演。这些作品将整个艺术中心重新演绎为装置遭遇，以探索剧院如何应对其历史和未来。以剧场巡演的形式，这些活动涵盖了舞台以外的功能性或过渡性区域，不仅提出了我们如何在特定的表演空间中移动的问题，而且还提出了我们如何在剧院机构中定位自己的问题。因此，在（后）-syndemic 剧院中，装置作品既可以看到剧院建筑和再现工具的物理材料，也可以看到权力结构中的制度。