Reviewing Spectacle: The Pasts, Presents and Futures of the Situationist International in Contemporary Performance

很少有文本比德博德的《奇观的社会》(1967)更具有当代意义，这是实地主义国际(SI，1957-72)的主要作品之一。德博德强调了消费的意识形态，它通过包装和营销将日常生活组织成一个奇观。半个世纪后，重新回到SI对奇观的批判中能得到什么？我们的项目在理论上和创造性地调查了当代表演如何在数字化、加速的世界中调解SI概念。目的：1：提供第一个关于法国对表演历史的贡献的理论化，这通常被理论化为英语现象。分析5位当代表演者对SI发展的实践的拨款，以批判奇观的社会。将20世纪中期巴黎的SI理论和实践历史地联系起来，在那里他们构成了积极的政治抵抗，以询问他们的价值是否已经在几代人之间发生了变化。问一问，表演是否可能为SI带来一个与它想象的不同的未来，在这个未来，艺术将被纳入日常生活，并被压制。表演者的身临其境如何挑战屏幕模拟的平面性？观看表演中的图像创造如何促进对奇观制作的批判性理解？该项目促进了学者、艺术伙伴和法国和英国遗产部门之间的合作。我们的合作机构(巴黎南特艺术学院和格拉斯哥当代艺术中心)的2个研讨会通过论文和与艺术家的讨论来解决我们的目标。这些将为法国和英国调查人员共同编辑的两期特刊提供材料。我们的艺术合作伙伴格雷姆·米勒将对BNF保存的盖伊·德博德档案做出回应，创造出SI历史的当代复活和重大影响活动。

Few texts bear more contemporary relevance than Guy Debord's The Society of the Spectacle (1967), one of the key works of the Situationist International (SI, 1957-72). Debord highlighted the ideology of consumption, which organizes everyday life into a spectacle via packaging and marketing. Half a century later, what can be gained from returning to the SI's critique of spectacle? Our project investigates, theoretically and creatively, how contemporary performance mediates SI concepts in a digitalized, accelerated world.Aims:1: Provide the first theorization of the specifically French contribution to the history of performance, which has generally been theorized as an Anglophone phenomenon.2. Analyse appropriations of practices developed by the SI to critique the society of the spectacle, by 5 contemporary performance makers.3. Contextualize SI theory and practice historically in mid-20th-century Paris, where they constituted active political resistance, to ask if their value might have shifted across generations.4. Ask if performance might enable a future for the SI different from the one it imagined, where art would be subsumed into everyday life, and suppressed. How can the embodied presence of the performer challenge the flatness of screen simulation? How can witnessing the creation of images in performance foster a critical understanding of the production of spectacle?The project enables collaboration between scholars, Artistic Partners and the heritage sector in France and the UK. 2 symposia at our Partner Institutions (théâtre Nanterre-Amandiers Paris and Centre for Contemporary Art Glasgow) address our Aims via papers, and discussions with artists. These will provide material for 2 special issues co-edited by French and UK investigators. Our Artistic Partner, Graeme Miller, will make a performance in response to the Guy Debord archives held at the BNF, creating a contemporary reactivation of the SI's history and a significant impact activity.