《卡罗》:坏兔子与性别的象征性断裂

Q1 Arts and Humanities
Samuel C. Fouts
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引用次数: 0

摘要

2019年初,著名的urbano拉丁美洲艺术家Bad Bunny发布了他的歌曲《Caro》的音乐视频。作为一首音乐曲目,这首歌很容易被视为标准的拉丁陷阱,以主人公炫耀的男子气概为中心。然而,这段视频通过将坏兔子和扮演坏兔子的模特Jazmyne Joy的表演分层,彻底颠覆了性别/通用规范。他们对单一角色的双重表演,同时运用了变装和腹语,通过质疑身体本身的边界,挑战了性别和类型的界限。性别和流派在这里被视为概念姐妹,在精心设计的表演中打破了各自的界限。因此,在《卡罗》中,朱迪斯·巴特勒和乔治娜·博恩的理论被一代一代地例证和相互阐释,肯定了两者的偶然性和表演性。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
‘Caro’: Bad Bunny and the symbolic rupture of gender
In early 2019, Bad Bunny, a leading urbano latino artist, released the music video to his song ‘Caro’. As a musical track, the song can easily be heard as standard Latin trap fare that centres the ostentatious masculinity of its protagonist. The video, however, definitively disrupts gendered/generic norms by layering the performances of Bad Bunny and Jazmyne Joy, a model featured in the role of Bad Bunny. Their dual performance of a single persona, deploying both drag and ventriloquism, challenges the perceived boundedness of gender and genre by calling into question the boundaries of the body itself. Gender and genre are treated here as conceptual sisters that afford the rupture of their respective boundaries in the elaborative act of performance. Thus, in ‘Caro’, the theories of Judith Butler and Georgina Born are generatively exemplified and mutually illuminated, affirming the contingency and performativity at the centre of both.
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来源期刊
Journal of Interdisciplinary Voice Studies
Journal of Interdisciplinary Voice Studies Arts and Humanities-Literature and Literary Theory
CiteScore
1.20
自引率
0.00%
发文量
10
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