On the first day of April 1649, on the predominantly rural manor of Walton, Surrey, the sight of people preparing land for the plow was unremarkable. To see men up at dawn, dressed for the field in broad-brimmed hats, homespun waistcoats, and short breeches, loosening or breaking up clods with their spades, stooping to toss aside root and rock, was typical. What did raise eyebrows, however, was the sight of such busyness on a Sunday, the Sabbath, and on no less remarkable ground than George Hill, with its “very barren,” sandy soil. When questioned, Gerrard Winstanley reframed this performative break with religious, social, and agricultural norms as he did in his soon to be published manifesto, The True Levellers’ Standard Advanced. To work this land was to “declare . . . by action,” as well as by word, that Winstanley, the self-described “prophet” William Everard, and a small number of others had been sent by the Creator to begin their mission of transforming “the Earth [into] a common Treasury for all, both Rich and Poor.” Rural, religious, and resource poor, the Digger collective has not received substantial attention from performance studies scholars. Even some historians of the seventeenth century have questioned the significance of this small, nonviolent agrarian group in the intensely “charged political atmosphere of the 1640s,” but as a collective whose theatrical social performances raised them from obscurity to national visibility, Diggers are in some ways the epitome of this era.

中文翻译：

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温斯坦利的“正义演员”：十七世纪的表演、情感和非凡的政治

1649 年 4 月的第一天，在萨里郡沃尔顿以乡村为主的庄园里，人们为犁地准备土地的景象并不引人注目。看到人们在黎明时分起床，穿着宽边帽，朴素的背心和短马裤，用铁锹松开或打碎土块，弯腰将树根和岩石扔到一边，这是典型的。然而，令人大跌眼镜的是，在星期天、安息日看到如此忙碌的景象，在不亚于乔治希尔的非凡土地上，那里有“非常贫瘠”的沙质土壤。当被问到时，杰拉德·温斯坦利（Gerrard Winstanley）在即将出版的宣言中重新定义了这种与宗教、社会和农业规范的表演性突破，真正的矫直机标准高级. 在这片土地上工作就是“宣布. . . 通过行动，”以及通过言语，温斯坦利、自称为“先知”的威廉·埃弗拉德和少数其他人已被造物主派去开始他们将“地球[变成]一个共同的宝库”的使命所有人，无论贫富。” 在农村、宗教和资源匮乏的地方，Digger 集体没有受到表演研究学者的实质性关注。甚至 17 世纪的一些历史学家也质疑这个小型的非暴力农业团体在“1640 年代充满活力的政治氛围”中的重要性，但作为一个集体，其戏剧性的社会表演将他们从默默无闻提升到全国知名度，挖掘者在一些方式是这个时代的缩影。