2014年分別於慕尼黑（München）與科隆（Köln）演出的《判斷》（Urteile）與《缺口》（Die Lücke），皆以衝擊德國社會的「國家社會主義地下組織」（Nationalsozialistischer Untergrund, NSU）謀殺案件為題，該極右派團體殺害多名具移民背景人士的重大犯行，因偵查過程的結構性歧視，在第一時間排除仇外動機的可能，往被害者家屬涉嫌辦理，導致無法及早破案避免後續傷亡，並對受害者家屬造成二度傷害，延宕10年有餘。公權力的失職，激起諸多民間團體和創作者的投入，從各種層面處理事件所揭露的衝突與空缺。兩例演出時，該案的審判才剛開庭。本文以對藝術實踐亦多有論著的政治理論家穆芙（Chantal Mouffe）之「霸權」與「敵對性」的概念，分析劇場創作對於時下社會衝突的介入在輿論層面形成了怎麼樣的對話或對抗，又如何在劇場中建構新的認同，藉此析論創作實踐的美學政治性。

Urteile and Die Lücke were two theatre productions in Germany in 2014, dealing with the murders of people from migrant backgrounds by the right-wing extremist group, National Socialist Underground. Institutional racism influenced the course of the investigation and the possibility of racist motives was ruled out immediately after the crimes were committed. Instead, the police treated the victims’ families as suspects for another decade. The failure of state authorities and the discriminatory structures triggered attempts to produce counter narratives through civil initiatives and theatre. The two productions took place around the beginning of the trial. Analyzing these works through the lens of Chantal Mouffe’s concepts of“hegemony”and“antagonism”, this paper attempts to approach the political aesthetics of these theatrical works in the context of the incidents, highlighting their practices and potentials for counter-hegemonic formations and looking into the new forms of identification constructed through their narratives.