Since the eruption of the Syrian civil war in 2011, the arrival of refugees in Turkey has been unprecedented in the country's history. Theatre practitioners have been slow to address this migratory moment, but an exception has been Istanbul-based Dostlar Tiyatrosu's 2017 production Göçmenleeeer, a translation of Romanian–French playwright Matéi Visniec's Migraaaants. Developed in the context of Europe's own migratory ‘crisis’, Migraaaants is composed of a series of vignettes that critique European refugee policy and the deadly economies that it has prompted in the continent's borderlands. What happens when Migraaaants is produced in a national context where the binary of European ‘hosts’ and non-European ‘refugees’ gives way to another set of political identities? How do we assess the emergence of a shared paradigm of ‘crisis’? And finally, where does crisis stand in relation to our ability to imagine a transnational aesthetics of political resistance to anti-immigration policies?

自2011年叙利亚内战爆发以来，难民涌入土耳其是该国历史上前所未有的。戏剧从业者在处理这一迁移时刻的速度很慢，但伊斯坦布尔的 Dostlar Tiyatrosu 2017 年的作品Göçmenleeeer是个例外，这是罗马尼亚-法国剧作家 Matéi Visniec 的Migraaaants的翻译。Migraaaants是在欧洲自身的移民“危机”背景下发展起来的，由一系列批评欧洲难民政策及其在欧洲大陆边境地区引发的致命经济的小插曲组成。当Migraaaants发生时会发生什么是在欧洲“东道主”和非欧洲“难民”的二元对立让位于另一套政治身份的国家背景下产生的？我们如何评估共同的“危机”范式的出现？最后，与我们想象对反移民政策进行政治抵制的跨国美学的能力相比，危机在哪里？