This article introduces and theorizes ‘decadence’ as a key feature of Lauren Barri Holstein's performance Notorious (2017). The decadence of Holstein's work is approached in light of two main considerations: the spectacular presentation of witchcraft as an occult practice, and what Holstein ‘does’ with the staging of witches and witchcraft. Situated in light of performances associated with the neo-occult revival (Ivy Monteiro and Jex Blackmore), and a recent strand of feminist performance that revels in an aesthetics of trash, mess and excess (Ann Liv Young and Lucy McCormick), the article offers a close critical analysis of Notorious as a work that addresses and seeks to subvert gendered inequalities and forms of productivity in twenty-first-century capitalism. I argue that Holstein's overidentification with exertion and exhaustion as much as the subversive potentialities of witchcraft results in a decadent aesthetic, that her staging of the witch as a persecuted but powerful emblem of the occult sheds valuable light on the aesthetics and politics of decadence in performance, and that the subversive qualities of decadence emerge particularly strongly in its ‘doing’ as an embodied and enacted practice.

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“烧死女巫”：当代女权主义表演中的颓废与神秘

本文介绍并理论化“颓废”作为 Lauren Barri Holstein 表演的一个关键特征臭名昭著（2017）。荷尔斯泰因作品的颓废是根据两个主要考虑因素来处理的：将巫术作为一种神秘的做法的壮观呈现，以及荷斯坦对女巫和巫术的表演“做了什么”。鉴于与新神秘主义复兴相关的表演（Ivy Monteiro 和 Jex Blackmore），以及最近一系列陶醉于垃圾、混乱和过度美学的女权主义表演（Ann Liv Young 和 Lucy McCormick），这篇文章提供严密的批判性分析臭名昭著作为一部解决并寻求颠覆 21 世纪资本主义中性别不平等和生产力形式的作品。我认为荷斯坦对劳累和疲惫的过度认同以及巫术的颠覆性潜力导致了一种颓废的美学，她将女巫作为神秘学的受迫害但强大的象征，为表演中颓废的美学和政治提供了宝贵的启示，并且颓废的颠覆性品质在其作为一种体现和制定的实践的“行为”中表现得尤为强烈。