这是我的身体:粉红色晚餐的奇怪的弥赛亚焦虑

IF 0.3 2区艺术学 0 THEATER

CONTEMPORARY THEATRE REVIEW Pub Date : 2023-04-03 DOI:10.1080/10486801.2023.2173595

Nando Messias

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引用次数: 0

摘要

在这篇文章中，我对2019年与Biño Sauitzvy合作创作的抗议表演《粉红晚餐》进行了个人和批判性的分析。它是用三种表达方式写成的:(a)批判性写作，以罗马字体出现;(b)内部对话，以斜体出现;(c)表演本身的摘录，以粗体出现。在三种不同的声音中，我采取了一种奇怪的写作方式。复调打破了自上而下的知识传播的传统规则。它摒弃了正式的叙事结构。相反，我积极地接受一种有点“无组织”的修辞，与采用类似方法的酷儿作家加强横向联系。

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This is My Body: The Queer Messianic Dysphoria of The Pink Supper

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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来源期刊

CONTEMPORARY THEATRE REVIEW THEATER-

CiteScore

0.50

自引率

0.00%

发文量

期刊介绍： Contemporary Theatre Review (CTR) analyses what is most passionate and vital in theatre today. It encompasses a wide variety of theatres, from new playwrights and devisors to theatres of movement, image and other forms of physical expression, from new acting methods to music theatre and multi-media production work. Recognising the plurality of contemporary performance practices, it encourages contributions on physical theatre, opera, dance, design and the increasingly blurred boundaries between the physical and the visual arts.