ABSTRACT

The work of French writers Didier Eribon and Édouard Louis has, through translation, gained an international audience. Thomas Ostermeier has adapted Eribon's Returning to Reims (Retour á Reims, 2017) and Louis' History of Violence (Histoire de la violence, 2018) for the stage allowing the authors' reflections on growing up gay and poor in rural working-class France to transform as they travel across borders. This article will map this transnational literary-theatrical network in relation to Eribon's idea of a “collective minoritarian experience”. It uncovers how Ostermeier and his collaborators adapt these texts for the stage, and how Eribon and Louis are themselves represented as subjects. The article asks how these productions develop a shared theatrical aesthetic to represent a shared queer experience. Focusing on the networks that made these productions possible reveals the potential of transnational collaboration for representing new experiences, as well as the transformations prompted by these collaborations.

摘要

法国作家迪迪埃·埃里邦 (Didier Eribon) 和爱德华·路易斯 (Édouard Louis) 的作品通过翻译获得了国际观众。Thomas Ostermeier 改编了 Eribon 的《重返兰斯》 （Retour á Reims，2017 年）和路易斯的《暴力史》（Histoire de la violence, 2018) 的舞台让作者对在法国农村工人阶级中成长的同性恋和穷人的思考在他们跨越国界时发生转变。本文将把这个跨国文学-戏剧网络与埃里本的“集体少数民族体验”的想法联系起来。它揭示了 Ostermeier 和他的合作者如何将这些文本改编成舞台，以及 Eribon 和 Louis 本身是如何被呈现为主题的。这篇文章询问了这些作品如何发展出一种共同的戏剧美学来代表一种共同的酷儿体验。关注使这些作品成为可能的网络揭示了跨国合作代表新体验的潜力，以及这些合作所引发的转变。