Pub Date : 2023-11-23DOI: 10.1080/10486801.2023.2249687
Backpages is an opportunity for the academy to engage with theatre and performance practice with immediacy and insight, and for theatre workers and performance artists to engage critically and refl...
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Pub Date : 2023-11-23DOI: 10.1080/10486801.2023.2200181
Bojana Janković
This article investigates the relationship between a marginalised community of essential workers and dominant models of participation. I focus on Agri-Care, The Royals, and Alien Species, projects ...
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Pub Date : 2023-08-03DOI: 10.1080/10486801.2023.2173590
Laine Halpern Zisman
Abstract
In Living a Feminist Life, Sara Ahmed explains that precarity is akin to a vase on the mantelpiece. If it were pushed even slightly, it would fall off the edge. Existence on that edge, Ahmed explains, is what we allude to when we discuss precarious populations. Patriarchy, racism, ableism, homophobia, and transphobia are violent forces. They threaten to push us over the edge. Queer performance often begins in this in-between state on the mantelpiece, not quite fallen, not quite stable, negotiating, and straddling a balance between holding on to a fragile state and falling off the mantle entirely. In this article, I analyze the Queer Pride Inside Cabaret (June 2020), the first official partnership between Buddies in Bad Times Theatre, the largest and longest running queer theatre in the world, and the CBC, a Canadian federal Crown corporation and national public broadcaster. In considering the mainstream producers and the radical queer artists showcased, I refuse a simplistic antinormative/normative binary in queer performance in Canada and make space for accessing resources from the mainstream, while rejecting inequitable systems of oppression. If queer theatre is intended to break down ingrained static and naturalized assumptions of everyday practices, how do we understand queer performance through contradictions and incoherence? Can we simultaneously fuck the system and accept our complicity within it? Complicating the unique and diverse ways artists opt-in and out of mainstream queer presence, this article looks at creative practices that challenge and promote continuing legacies and failures of queer performance in Canada.
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Pub Date : 2023-07-03DOI: 10.1080/10486801.2023.2200180
Sam Čermák
Abstract Petr Štembera’s first performance Narcissus No. 1 (1974) was staged as a religious ritual of self-acceptance. During the performance, the artist used a combination of Greek mythology and Christian Eucharistic ritual as a basis for the action during which he consumed detritus from his body while looking at a portrait of himself. This method of arguably self-indulgent individualism was at the core of his broader practice as a pioneer of Czech Body Art. Using Czech philosophical writings on Marxist humanism, this article seeks to reframe individualism, selfishness, and self-indulgence not as pejoratives that are used to dismiss performance works but as a productive basis for a theory of performance-making strategy. Štembera used Zen-Buddhism and phenomenological approaches to contest the political aspects relating to the body in Late Socialist Czechoslovakia. His performance was purposefully selfish, self-indulgent, and individualistic and he strategically refused to share the specifics of his experience with his audience. Instead, he used his performance to offer permission to his audience to perform similar acts of self-indulgence, which in the context of the collectivist Socialist regime of the 1970s functioned, I argue, as a politically subversive act.
摘要 Petr Štembera 的首部作品《Narcissus No.在表演过程中，艺术家结合希腊神话和基督教圣餐仪式，一边看着自己的肖像，一边吃掉身上的残渣。这种可以说是自我放纵的个人主义方法是他作为捷克人体艺术先驱的广泛实践的核心。本文利用捷克关于马克思主义人文主义的哲学著作，试图重塑个人主义、自私和自我放纵，而不是将其作为贬义词来否定行为艺术作品，而是将其作为行为艺术创作策略理论的生产性基础。斯腾贝拉运用禅宗佛教和现象学方法，对捷克斯洛伐克社会主义晚期与身体有关的政治问题提出质疑。他的表演故意表现得自私、自我放纵和个人主义，并策略性地拒绝与观众分享他的具体经历。相反，他利用自己的表演允许观众进行类似的自我放纵行为，我认为，在 20 世纪 70 年代社会主义集体主义政权的背景下，这种行为具有政治颠覆性。
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Pub Date : 2023-04-03DOI: 10.1080/10486801.2023.2173592
J. Parslow
Abstract The Zizi Project is a series of connected art and performance pieces created by artist Jake Elwes in collaboration with Me The Drag Queen and members of London’s drag performance scene. The works – currently Zizi: Queering the Dataset (2019), Zizi & Me (2020; ongoing), and The Zizi Show (2020) – sit at the intersection of drag performance and Artificial Intelligence (AI), playing with and queering facial recognition software, deepfake technologies, and Machine Learning algorithms. I consider The Zizi Project as an example of work at the vanguard of an emergent field of queer AI performance. The project intervenes in complex conversations surrounding AI and Machine Learning, including the lack of representation of diverse identities and communities in datasets used to train these systems and the complexity of creating datasets which include queer and trans bodies and identities. However, in aiming to use drag performance to expose and demystify these complex technological systems to audiences, I propose that queerer forms of art making and performance emerge that push at the boundaries of both drag and the technologies used. Ultimately, The Zizi Project articulates drag and queer futures where the digital and the actual interact in increasingly complex ways to explore notions of diversity, inclusion, and access that speak to fundamental questions of what counts as drag, what counts as queer, and, indeed, what count as human.
摘要Zizi Project是艺术家Jake Elwes与Me The Drag Queen和伦敦变装表演现场的成员合作创作的一系列相互关联的艺术和表演作品。这些作品——目前是《Zizi:Queering The Dataset》（2019）、《Zizi&Me》（2020；正在进行中）和《Zizi Show》（2020）——位于拖拽性能和人工智能（AI）的交叉点，与面部识别软件、深度伪造技术和机器学习算法打交道。我认为《自在计划》是酷儿人工智能表演这一新兴领域的先锋作品。该项目介入了围绕人工智能和机器学习的复杂对话，包括在用于训练这些系统的数据集中缺乏对不同身份和社区的表示，以及创建包括酷儿、跨性别身体和身份在内的数据集的复杂性。然而，为了利用变装表演向观众展示和揭开这些复杂技术系统的神秘面纱，我建议出现更奇特的艺术制作和表演形式，突破变装和所用技术的界限。最终，Zizi项目阐明了变装和酷儿的未来，数字和现实以越来越复杂的方式互动，探索多样性、包容性和访问的概念，这些概念涉及什么是变装、什么是酷儿，以及什么是人类的基本问题。
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Pub Date : 2023-04-03DOI: 10.1080/10486801.2023.2173591
Kamogelo Molobye
Abstract Contemporary theatre in South Africa has a history of hegemonically framing narratives that prevalence cisheteronormative stories. These narratives exacerbate the already existing acts of violence resulting from systems that place queerness against the backdrop of marginality. Inquiries in queer histories, identities, and sexualities arouse questions of belongingness, emphasising perspectives and tensions that many queer people in South Africa grapple with due to inherited systems of silencing. This article applies a dialogic framework between Diana Taylor’s The Archive and the Repertoire: Performing Cultural Memory in the Americas (2003) and Judith Butler’s Frames of War: When Is Life Grievable? (2009) to explore the process of queering contemporary theatre and performers in South Africa. In this article, I explore how the work of Koleka Putuma, with specific reference to No Easter Sunday for Queers (2019), participates in the act of carving out a space of belongingness through embodied modes of re-membering and re-memorying through theatre and performance. The orientation of Putuma’s work guides this paper to ask: in what ways does South African queer theatre confront systems of power, violence, and dominance that silence queer people in contemporary South Africa?
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Pub Date : 2023-04-03DOI: 10.1080/10486801.2023.2173597
G. Casalini
Abstract How to access, read, and interpret queer-feminist live art from a transnational perspective? And how to account for those subjects whose geopolitical positionalities do not subscribe to the most acknowledged Euro-American canons? In this article, I will address these questions by engaging with the limits of a queer theory (or practice) that does not acknowledge its feminist co-constitution or that it is anchored to Anglo-American perspectives and genealogies. I will then propose a transnational approach to enrich this field and counteract the reproduction of abstract queer equivalences across cultures. Adopting what I call a ‘transnational queer-feminist methodology’ will therefore be essential for working with and analysing queer and queer-feminist live art that is produced and circulated across and within diverse geopolitical locations. I will describe how the latter relies on an interdisciplinary weaving of social sciences, queer, and performance studies/practices. I will use this approach in analysing Ghanaian transgender artist Va-Bene Elikem Fiatsi [crazinisT artisT], unpacking the issues of cultural and linguistic translation in her work. The artist (who asks to be called with the pronouns ’sHit’ or ‘she’) engages in endurance actions that, together with challenging her own physical boundaries, also expose the limits of Western identity markers. In applying a transnational queer-feminist methodology that expands from the regional (Ghana) towards transnational Pan-African perspectives, I will then argue that her work uses the aesthetics of abjection to counteract cultural and linguistic imperialisms and become ‘illegible’ to the neo-liberal global LGBT rights formulations whilst speaking for a transversal queer African subjectivity.
摘要如何从跨国视角访问、阅读和解读酷儿女权主义现场艺术？如何解释那些地缘政治立场不符合最公认的欧美准则的主体？在这篇文章中，我将通过探讨一种酷儿理论（或实践）的局限性来解决这些问题，这种理论不承认其女权主义共同宪法，也不承认其植根于英美视角和谱系。然后，我将提出一种跨国方法来丰富这一领域，并抵制跨文化复制抽象的酷儿对等。因此，采用我所说的“跨国酷儿女权主义方法论”，对于研究和分析在不同地缘政治地点生产和传播的酷儿和酷儿女权活动艺术至关重要。我将描述后者如何依赖于社会科学、酷儿和表演研究/实践的跨学科编织。我将用这种方法来分析加纳跨性别艺术家Va Bene Elikem Fiatsi[疯狂艺术]，揭示她作品中的文化和语言翻译问题。这位艺术家（要求用代词“sHit”或“she”称呼）进行耐力动作，除了挑战自己的身体界限外，还暴露了西方身份标志的局限性。在应用一种从地区（加纳）扩展到跨国泛非视角的跨国酷儿女权主义方法时，我会争辩说，她的作品使用了贬斥美学来抵消文化和语言的统治，并对新自由主义的全球LGBT权利表述变得“难以辨认”，同时为横向的酷儿非洲主体性发声。
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Pub Date : 2023-04-03DOI: 10.1080/10486801.2023.2173595
Nando Messias
Abstract In this article, I offer a personal and critical analysis of The Pink Supper, a protest-performance created in collaboration with Biño Sauitzvy in 2019. It is written using three modes of expression: (a) critical writing, which appears in roman type, (b) internal conversations, in italics and (c) excerpts from the performance itself, in bold. In engaging three distinct voices, I take a queer approach to writing. The polyphony tears up traditional rules of top-to-bottom knowledge transmission. It abandons formal narrative structures. In their stead, I actively embrace a somewhat ‘disorganised’ rhetoric by tightening horizontal bonds with queer writers who have adopted a similar approach.
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Pub Date : 2023-04-03DOI: 10.1080/10486801.2023.2173593
Erdem Avşar
Abstract Queer ghosts are haunting the independent stages of Istanbul. Trans sex workers, fallen angels, and pop icons who lost their lives are coming back to life, and they want more than a mourning. They want to educate the living, seek redress, complain, and imagine new social knowledges for the queers of the present time. This article offers a dramaturgical taxonomy of these queer ghosts by tracing what they are trying to enact through their refusal to leave the theatrical space. It takes four plays as case studies: Ufuk Tan Altunkaya’s 80ʹlerde Lubunya Olmak (Being a Queer in the 1980s, 2013), Ebru Nihan Celkan’s Uzaydan Gelen Prens (The Prince from Space, 2018), Özen Yula’s Yala ama Yutma (Lick but Don’t Swallow, 2010), and Ahmet Sami Özbudak’s İ z (The Stain, 2013). It argues that queerness on Istanbul’s independent stages reveals historical fatalities but also provides a glimpse of alternative ways of survival for the precarious.
抽象的酷儿鬼萦绕在伊斯坦布尔的独立舞台上。跨性别工作者、堕落的天使和失去生命的流行偶像正在复活，他们想要的不仅仅是哀悼。他们想教育生活，寻求补偿，抱怨，并为当今时代的酷儿们想象新的社会知识。这篇文章通过追踪这些酷儿鬼魂拒绝离开戏剧空间的行为，对他们进行了戏剧分类。它以四部戏剧作为案例研究：乌福克·谭·阿尔图卡亚的《80年代的酷儿》（2013）、埃布鲁·尼汉·塞尔坎的《太空王子》（2018）、Özen Yula的《Yala ama Yutma》（2010）和Ahmet SamiÖzbudak的《污点》（2013年）。它认为，伊斯坦布尔独立舞台上的怪异揭示了历史上的死亡，但也为岌岌可危的人提供了另一种生存方式。
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Pub Date : 2023-04-03DOI: 10.1080/10486801.2023.2182079
Alyson Campbell, Stephen Farrier, Fryer, Cavallo
Backpages is an opportunity for the academy to engage with theatre and performance practice with immediacy and insight, and for theatre workers and performance artists to engage critically and reflectively on their work and the work of their peers.
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