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

很少有文本比居伊·德波的《景观社会》（1967）更具当代意义，这是国际情景主义的关键作品之一（SI, 1957-72）。德波强调了消费意识形态，它通过包装和营销将日常生活组织成一种奇观。半个世纪后，回到SI对景观的批判能得到什么？我们的项目从理论上和创造性上探讨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：第一次将法国对表演史的贡献理论化，这通常被理论化为一种英语国家的现象。2 .分析5位当代表演艺术家对SI发展的实践的挪用，以批判景观社会。将科学探究的理论和实践置于20世纪中期巴黎的历史背景中，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可能在几代人之间发生了变化。问一下，表演是否可以为SI带来一个不同于它想象的未来，在那里艺术将被纳入日常生活，并受到压制。表演者的身临其境如何挑战屏幕模拟的平整化？目睹表演中形象的创造如何培养对奇观生产的批判性理解？该项目促进了法国和英国学者、艺术合作伙伴和遗产部门之间的合作。在我们的合作机构（巴黎南泰尔-阿曼迪尔学院和格拉斯哥当代艺术中心）举办的两次研讨会通过论文和与艺术家的讨论来阐述我们的目标。这些将为法国和英国调查人员共同编辑的2个特别问题提供材料。我们的艺术合作伙伴格雷姆·米勒（Graeme Miller）将在BNF举办的盖伊·德博德档案中进行表演，创造出SI历史的当代复兴和重大影响活动。

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.