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.

摘要

反表演是我用来形容我的表演体的一个词，其实也是时空的转瞬即逝的瞬间。“anti”源自和借用了 anti-colonial，是“decolonial”和“post”colonial 的激进（词根），在这种情况下，直接反对观众对性别化、种族化身体的期望，但也反对那些通常是受机构邀请。本文中讨论的反表演—— （底层能说话吗？）……是的，但我们能听吗？(2015), Transistence, Moving Into Sunlight (2021),让他们吃蛋糕/愿没有饥饿的人举起第一刀(2016) – 拒绝对我所谓的“边缘化”身体的客观化和奇观，以及它如何经常被消耗、侵犯、贬值和耗尽，而是寻求颠覆凝视、打断窥淫癖、重获幸福，并质疑我们认为我们知道的。反表演以表演者（集体时的我们自己）而不是观众为中心；然而，这并不是要造成分裂，因为如果观众愿意的话，他们往往是表演的目击者和/或同谋。反表演力求将“消费者”（观众和机构）和“消费”（表演者）的范式转变为更加道德和正直的东西。