The question of how spectators engage emotionally with what they see on stage has always been of interest to theatre scholars and performance-makers. This article offers a small-scale analysis of audience responses to Patricia Cornelius’s SHIT (2015) that was performed by Dublin theatre collective THISISPOPBABY at the Project Arts Centre in March 2022. The vulgar and aggressive protagonists confront spectators directly about what it means to barely scrape by as a déclassée woman who has to protect herself daily from male violence. Thus, the play allows for an intersectional perspective on gender and class by asking uncomfortable questions about the privilege of spectatorship. Deliberately marking them as Other, SHIT opens up a rift between its protagonists and the middle-class audience it constructs, but occasionally bridges the distance by allowing for feminist attachments between the two sides.

中文翻译：

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“他们认为我们是满嘴脏话的荡妇”：帕特里夏·科尼利厄斯的《粪便》中的不适、资产阶级观众和女权主义同胞的感受

观众如何在情感上与他们在舞台上看到的东西互动的问题一直是戏剧学者和表演者感兴趣的问题。本文对观众对帕特里夏·科尼利厄斯的反应进行了小规模分析拉屎（2015）由都柏林戏剧团体 THISISPOPBABY 于 2022 年 3 月在项目艺术中心演出。粗俗而好斗的主角直接面对观众，告诉观众作为一个每天必须保护自己免受男性暴力的落魄女性意味着什么。因此，该剧通过提出有关观众特权的令人不安的问题，允许对性别和阶级进行交叉视角。故意将它们标记为“其他”，拉屎它在主角和它所构建的中产阶级观众之间打开了裂痕，但偶尔也会通过允许双方之间的女权主义依恋来弥合距离。