This article examines Scenes for Survival, a series of short digital artworks co-created by the National Theatre of Scotland, BBC Scotland and Screen Scotland, for its intersecting dimensions of precarity. On the one hand, the series shows how a pandemic's challenges are unevenly distributed. On the other hand, it addresses the expressly precarious position of (post-)pandemic theatre – precarious in that theatre presupposes the co-presence of an audience of some sort. Drawing on Judith Butler's concept of embodied precarity, I explore how select monologues articulate a ‘new bodily ontology’, and what kind of audience is constructed in the process. As I suggest, Scenes for Survival proposes ways in which proximity and physical co-presence must be reconfigured, constructed across space and time. In doing so, the series adds to ongoing discussions of how to conceptualize digital spectatorship, especially in times when physical co-presence is impossible, and thus becomes an issue of vulnerability.

中文翻译：

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不稳定的身体：在苏格兰国家剧院的生存场景系列中定位观众

本文考察生存场景，由苏格兰国家剧院、BBC 苏格兰和 Screen Scotland 共同创作的一系列短片数字艺术作品，以其不稳定性的交叉维度。一方面，该系列展示了大流行病的挑战是如何分布不均的。另一方面，它解决了（后）大流行剧院明显不稳定的地位——剧院的不稳定预设了某种观众的共同存在。借鉴朱迪思·巴特勒 (Judith Butler) 的具体不稳定性概念，我探讨了精选的独白如何表达“新身体本体论”，以及在此过程中构建了什么样的观众。正如我所建议的，生存场景提出了必须跨空间和时间重新配置和构建邻近性和物理共存的方法。通过这样做，该系列增加了正在进行的关于如何概念化数字观众的讨论，特别是在物理共存不可能的时候，因此成为一个脆弱性问题。