反性能作为实践

IF 0.3 3区 艺术学 0 THEATER Studies in Theatre and Performance Pub Date : 2022-09-02 DOI:10.1080/14682761.2022.2136331
Raju Rage
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引用次数: 0

摘要

反表演(Anti-performance)是我用来描述我的表演主体的一个术语,它实际上也是时空中短暂的瞬间。“反”一词来源于反殖民主义,它是“去殖民主义”和“后殖民主义”的根本(根源),在这种情况下,它直接反对观众对性别化、种族化的身体的期望,也反对通常由机构邀请的东西。这篇文章讨论的反表演-(次官能说话吗?)…是的,但是我们能听进去吗?(2015)、《晶体》、《走向阳光》(2021)和《让他们吃蛋糕/愿没有饥饿的人举起第一把刀》(2016)——拒绝我所谓的“边缘化”身体的物化和景观,以及它是如何经常被消耗、侵犯、贬值和耗尽的,而是寻求颠覆凝视、打断偷窥、重获幸福,以及质疑我们自以为知道的东西。反表演把我作为表演者(当我们是集体时)而不是观众作为中心;然而,这并不是为了引起分歧,因为观众经常是表演的见证人和/或同谋,如果他们选择这样做的话。反表演致力于将“消费者”(观众和机构)和“被消费”(表演者)的范式转变为更加道德和正直的东西。
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ANTI – PERFORMANCE AS PRAXIS
ABSTRACT Anti-performance is a term that I use to describe my body of performances, which in actuality are also ephemeral moments in time-space. The ‘anti’ is derived and borrowed from anti-colonial, the radical (root) of ‘decolonial’ and ‘post’ colonial, in this case a direct opposition to what is expected of gendered, racialised bodies, by audiences but also that which is usually invited by institutions. The anti-performances discussed in this article – (Can the Subaltern Speak?)… YEAH BUT CAN WE LISTEN THO? (2015), Transistence, Moving Into Sunlight (2021), and Let Them Eat Cake/May The One Without Hunger Lift The First Knife (2016) – refuse the objectification and spectacle of my so-called ‘marginalised’ body and how it is often consumed, violated, devalued, and exhausted, and instead seeks to subvert the gaze, interrupt voyeurism, reclaim wellbeing, as well as querying what we think we know. Anti-performance centres myself as performer (ourselves when collective) rather than the audience; this, however, is not intended to be divisive, as the audience members are often witness to and/or accomplices of the performance if they choose to be. Anti-performance strives to transform the paradigm of ‘consumer’ (audience and institution) and ‘consumed’ (performer) to something much more ethical and with integrity.
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来源期刊
CiteScore
0.60
自引率
33.30%
发文量
11
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