Abstract

Cleaving, a principle of theatricality, proposes that a ‘cleft’ or a ‘cleaving’ holds within it the promise and ability to shift, change, alter, and create emergences. I find the instability and transformation that cleaving energises to be resonant with the instability of sexual or gender non-conforming expression. In this essay, I present a rubric of cleaving as queer becoming by bringing together my memories from the production process of the play Yavanavvanam (2018) and a recent photo-performance (2021) of self gesturing at my own trajectory since then. These dynamic fabrics are braided and punctuated by analyses of mitigating anxieties surrounding the abrogation of the anti-sodomy law in India and the legacy of the Rohith Vemula anti-caste movement at the University of Hyderabad.

摘要

分裂是戏剧性的一项原则，它提出“裂缝”或“分裂”蕴含着转变、改变、改变和创造涌现的承诺和能力。我发现分裂能量所带来的不稳定和转变与性或性别不一致表达的不稳定产生共鸣。在这篇文章中，我汇集了我对戏剧《Yavanavvanam》（2018）制作过程的记忆，以及最近的一张自那时起我自己的轨迹自我手势的照片表演（2021），提出了一个“作为酷儿生成”的标题。这些动态的结构通过对印度反鸡奸法废除和海得拉巴大学罗希·维穆拉反种姓运动遗产的缓解焦虑的分析进行编织和打断。