A world in movement is visible in the arena of the performing arts. Since the “long summer of migration” (also known as the 2015 “refugee crisis”), the field of performing arts for a young audience in Sweden has shown a growing interest in staging migration while elaborating new artistic strategies and modes of participation. Migrant/non-white youth share the stage-audience encounter with a white audience born in Sweden, while meeting and interacting with content, including the staging of identities, belonging, and experiences of being “other.” But knowledge about the meanings of these stage-audience encounters is lacking. This article aims to visualize and analyze the potential of repair processes through laughter in the stage-audience encounter of one specific play: This analysis enables consideration of the main emotions in a civil repair process that addresses recognition gaps. The paper builds on ethnographic research and interviews and takes a theoretically informed approach, making it possible to analyze how individual audience members' emotions and self-understandings are linked to staged experiences. A theoretical contribution is suggested that involves developing civil sphere theory by conceptualizing the need to be sensitive to existential repair in micro-studies of civil repair processes.

中文翻译：

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笑声与土木修复：舞台与观众的相遇


在表演艺术的舞台上可以看到一个运动的世界。自“漫长的移民之夏”（也称为2015年“难民危机”）以来，瑞典年轻观众的表演艺术领域对上演移民越来越感兴趣，同时制定新的艺术策略和参与模式。移民/非白人青年与出生在瑞典的白人观众分享舞台观众的遭遇，同时与内容见面和互动，包括身份、归属感和“他者”经历的呈现。但人们对这些舞台与观众相遇的意义却缺乏了解。本文旨在通过一部特定戏剧的舞台观众遭遇中的笑声来可视化和分析修复过程的潜力：这种分析可以考虑土木修复过程中的主要情感，从而解决认知差距。该论文以人种学研究和访谈为基础，采用理论方法，使分析个体观众的情绪和自我理解如何与舞台体验联系起来成为可能。提出的理论贡献涉及通过概念化在土木修复过程的微观研究中对存在修复敏感的需要来发展土木领域理论。