All became data during the pandemic. Lockdowns made manifest what had developed for some time: that theatre has become inextricably entangled with digital cultures, the performing arts being increasingly encountered as a growing stock of multimodal fragments, textual discourses and networked communications. And, it is argued, it is precisely this appearance of theatre as (big) data that might prove to be the game-changer post-pandemic, and that this game-changer might be solely an epistemological one: what is known about theatre, how that knowledge is organized, and who is involved in organizing this knowledge, are rapidly changing. Based on an exemplary analysis of the discourses of legitimation that compensated for the loss of presence in German theatres, and the associated imperative to innovate production, this article estimates the epistemological consequences of theatre returns as data to advocate for a reconceptualization of theatre beyond performance.

中文翻译：

---

表演后：大流行性破坏实验、大剧院数据和理论的终结

大流行期间都变成了数据。封锁使一段时间以来的发展变得显而易见：剧院已经与数字文化密不可分，表演艺术越来越多地成为多模态片段、文本话语和网络通信的存量。而且，有人认为，恰恰是戏剧作为（大）数据的这种出现可能被证明是大流行后的游戏规则改变者，而这个游戏规则改变者可能仅仅是一个认识论的：关于戏剧的已知信息，这些知识的组织方式以及参与组织这些知识的人员都在迅速变化。基于对补偿德国剧院存在感损失的合法性话语的典型分析，以及相关的创新生产的必要性，