This article examines Antonin Artaud’s ‘Theatre and the Plague’ in the light of the Covid-19 pandemic and through the Ancient Greek term stasis, which describes a civil war between domestic and public spaces. Once initiated, it was believed that this conflict would spread from household to household like a contagion; city states thus implemented draconian measures in the name of preventing stasis. Giorgio Agamben argues that such measures were embedded in subsequent theories of the state, fuelling ever more oppressive policies throughout history. Artaud’s ‘Theatre of Cruelty’ energizes a force comparable to this stasis, both in terms of its latency and its contagiousness, activating dormant conflicts in the individual that are expressed through networks of infection and create frontiers of shared resistance to institutional authority. ‘Theatre and the Plague’, read through the lens of stasis, can thus offer valuable contributions to current debates around biopolitics, particularly those seeking collective forms of agency during and beyond the current pandemic.

中文翻译：

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阿尔托的内战：Covid-19时代的“戏剧与瘟疫”

本文根据 Covid-19 大流行并通过古希腊术语审视了安东尼·阿尔托 ​​(Antonin Artaud) 的《戏剧与瘟疫》停滞，它描述了家庭空间和公共空间之间的内战。人们相信，一旦爆发，这场冲突就会像传染病一样从一个家庭蔓延到另一个家庭。因此，城邦以预防的名义实施了严厉的措施。停滞。乔治·阿甘本认为，这些措施被嵌入到后来的国家理论中，在历史上助长了越来越多的压迫性政策。阿尔托的《残酷戏剧》激发了与此相媲美的力量停滞，无论是在潜伏性还是传染性方面，都激活了个人潜伏的冲突，这些冲突通过感染网络表达出来，并创造了共同抵抗机构权威的边界。透过镜头阅读《戏剧与瘟疫》停滞因此，可以为当前围绕生命政治的辩论做出宝贵贡献，特别是那些在当前大流行期间和之后寻求集体形式代理的辩论。