The article explores the scenographic rendering of trauma in the theatre performance 872 days. Voices of the besieged city staged by a small theatre, Subbota, in Saint Petersburg, Russia. The performance delves into the complex issues of private narratives of traumatic experiences, which, for decades, were deemed unimportant and even disruptive within the context of victory and glory of The Great Patriotic War. The production is based on memoirs and diaries of witnesses of the Leningrad siege. This study explores the connection between the scenographic ecology and empathic unsettlement, which is understood as a tool of approaching trauma through the experience of the audience. The article analyses how the scenographic rendering of trauma allows for potential representation and understanding of traumatic experience. It further looks at a theatre space as a place for mourning and reflexivity that allows the possibility of working through past trauma to better understand the present.

中文翻译：

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难以想象的场景：在 872 天内探索他人的创伤。被围城的声音

本文探讨了戏剧表演中创伤的场景渲染872天。被围城的声音由俄罗斯圣彼得堡的 Subbota 小剧院上演。该表演深入探讨了创伤经历的私人叙述的复杂问题，几十年来，在伟大卫国战争的胜利和荣耀的背景下，这些经历被认为不重要，甚至具有破坏性。该剧根据列宁格勒围城事件目击者的回忆录和日记改编。这项研究探讨了场景生态学与共情不安之间的联系，共情不安被理解为通过观众的经历来处理创伤的工具。本文分析了创伤的场景渲染如何能够潜在地表现和理解创伤经历。它进一步将剧院空间视为哀悼和反思的场所，使人们有可能通过过去的创伤更好地理解现在。