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.

摘要

在本文中，我对《粉红晚餐》进行了个人和批判性的分析，这是与 Biño Sauitzvy 于 2019 年合作创作的抗议表演。它使用三种表达方式编写：(a) 批判性写作，以罗马字体出现， (b) 内部对话，以斜体显示；(c) 表演本身摘录，以粗体显示。为了吸引三种不同的声音，我采取了一种奇怪的写作方式。复调音乐打破了自上而下知识传播的传统规则。它放弃了正式的叙事结构。取而代之的是，我通过加强与采取类似方法的酷儿作家的横向联系，积极拥抱某种“杂乱无章”的言辞。