This article analyzes cultural production in theaters across three pivotal historical moments from the 1980s to the present, including the theater as ruins, refuge, and resistance. It begins with the theater in ruins as depicted in the 1986 film, The Black Sheep, by the legendary playwright, director, and filmmaker, Román Chalbaud, in which a commune of artists, outcasts, and misfits squat in the theater, taking shelter from a storm of state-sponsored neoliberal austerity, corruption, and persecution in the pre-Chávez era of Venezuela. The article then turns to the work of community groups during Chávez-led revolutionary reforms to recuperate abandoned theaters as vital spaces for democratic assembly through municipal government programs. The last section of the article juxtaposes the advanced democratization of theaters and cultural production in Caracas during the Maduro era with a phase of violent street mobilizations in middle-class and wealthy sectors of the city (known as guarimbas), to raise questions about the role of the media as an intervening character in global theaters of illusion. Where the spotlight shifts in location from stages to streets, and the street to the screen, the actual conditions of democratized access are happening behind the unlit marquis, a global majority operating in an ‘underground’ commune in the same scenario as the film. Except in this case, the military-media arm of the US polices the ‘streets’ of the global media commons to malign the Bolivarian Revolution as a black sheep political project. The conclusion points to the media’s role in promoting a dangerous misperception of reality by erasing the constituent power of a revolutionary society and the perpetuation of violence against them.

中文翻译：

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性能、民主和黑羊革命中的公社


本文分析了从 1980 年代到现在的三个关键历史时刻的剧院文化生产，包括作为废墟、避难所和抵抗的剧院。它从传奇剧作家、导演和电影制作人罗曼·查尔博 （Román Chalbaud） 1986 年的电影《黑羊》（The Black Sheep） 中描绘的废墟剧院开始，其中艺术家、流浪者和格格不入的人蹲在剧院里，躲避国家支持的新自由主义紧缩、腐败和迫害的风暴委内瑞拉前查韦斯时代。然后，文章转向了在查韦斯领导的革命改革期间社区团体的工作，通过市政府项目将废弃的剧院恢复为民主集会的重要空间。文章的最后一部分将马杜罗时代加拉加斯剧院和文化生产的先进民主化与该市中产阶级和富裕阶层（称为瓜林巴斯）的暴力街头动员阶段并列，以提出关于媒体在全球幻觉剧院中作为干预角色的角色的问题。当聚光灯从舞台转移到街道，从街道转移到银幕时，民主化访问的实际条件正在没有灯光的侯爵后面发生，全球大多数人在与电影相同的场景中在“地下”公社中运作。除了这次，美国的军事媒体部门在全球媒体共享的“街道”上进行监管，将玻利瓦尔革命污蔑为害群之马的政治项目。结论指出，媒体通过抹杀革命社会的构成力量和对他们的暴力永久化，在促进对现实的危险误解方面发挥了作用。