The aim of this paper is to analyse Laetitia Dosch's play Hate, first performed in Lausanne in 2018, in light of recent theories on female nudity, interspecies sexuality and non-human animal subjectivity. Featuring a completely naked woman and a white stallion, the show revolves around the possibility of interspecies communication and the need to re-evaluate the meaning of humankind and animality through theatrical performance. I begin by drawing on Derrida's writings on the subject of shame and nakedness as a means to explore interspecies identification. I then turn to recent ecofeminist theories in order to discuss Dosch's performative criticism of industrial exploitation of non-androcentric ‘others’, as well as the implications behind her dramatization of interspecies sexual intercourse. Finally, I examine how her ‘ventriloquist’ techniques to provide the horse with a voice invite considerations regarding Levinas's concept of ‘the face’ and how that affects animal subjecthood and subjectivity.

本文的目的是分析 Laetitia Dosch 的戏剧Hate，2018 年在洛桑首次演出，根据最近关于女性裸体、种间性行为和非人类动物主体性的理论。该节目以一个完全赤裸的女人和一匹白色种马为特色，围绕着跨物种交流的可能性以及通过戏剧表演重新评估人类和动物的意义的需要展开。我首先借鉴德里达关于羞耻和赤身的著作作为探索种间认同的一种手段。然后，我转向最近的生态女性主义理论，以讨论 Dosch 对非男性中心的“他人”的工业剥削的表演批评，以及她对跨物种性交的戏剧化背后的含义。最后，