How are theatre practitioners (re)defining the realist project, a form of theatre intrinsic to the ideological domestication of capitalism? This paper takes up this question through an examination of Simon Stone's production of The Wild Duck ‘after Ibsen’, staged at Belvoir Theatre in Sydney in 2011, and the late Mark Fisher's (2009) theorization of a market-dominated present as capitalist realism. In doing so, it refers to three different cultural contexts by making parallels to the German theatre director Thomas Ostermeier's work and pointing to developments in Britain. It argues that performances dependent upon the subject's capacity to know and represent the world are predicated on a subjective response and therefore risk locating systemic issues in the closed fictional cosmos of situational dramatic art as part of its exploration of the paralysis intrinsic to the capitalist realist politics of (theatre) spectatorship.

中文翻译：

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在“展示柜”中：（资本主义）现实主义和西蒙·斯通的“动物学”易卜生

戏剧从业者如何（重新）定义现实主义项目，一种资本主义意识形态驯化所固有的戏剧形式？本文通过考察西蒙·斯通 (Simon Stone) 的作品来回答这个问题。野鸭2011 年在悉尼贝尔沃剧院上演的《易卜生之后》，以及已故马克·费舍尔 (Mark Fisher, 2009) 将市场主导的表演理论化为资本主义现实主义。在此过程中，它通过与德国戏剧导演托马斯·奥斯特迈尔的作品相似并指出英国的发展来提及三种不同的文化背景。它认为，依赖于主体认识和代表世界的能力的表演是以主观反应为基础的，因此有可能在情境戏剧艺术的封闭虚构宇宙中定位系统性问题，作为其探索资本主义现实主义政治固有的瘫痪的一部分。 （戏剧）观众人数。