How might we think queerly about the politics of performance in public space? Inspired by ‘queer’ as a straying from the straight-and-narrow and by the street as a site of chance meetings and awkward run-ins, I stage in this essay an encounter between two different approaches to thinking the politics of performance in public space. The first approach follows a familiar path: Bertolt Brecht's ‘street scene’ and Walter Benjamin's account of epic theatre. The second approach follows the walking performances of two queer migrant artists – South Korean-born Jisoo Yoo, now based in France, and Mozambican-born Jupiter Child, now based in Denmark – who interrogate the disorientation of the queer migrant body in Western European public space. Exploring the surprisingly busy intersection between the Brechtian street scene and the work of these two artists reveals a politics of performance in public space that favours orientation over rupture.

中文翻译：

---

酷儿街景：中断、例外、定位

我们如何奇怪地思考公共空间中的表演政治？受到“酷儿”一词的启发，“酷儿”一词偏离了笔直而狭窄的轨道，而街头则是偶然相遇和尴尬冲突的场所，我在这篇文章中展示了两种不同的公共表演政治思考方式之间的相遇。空间。第一种方法遵循熟悉的路径：贝尔托·布莱希特的“街景”和沃尔特·本雅明对史诗戏剧的描述。第二种方法是跟随两位酷儿移民艺术家的步行表演——出生于韩国的 Jisoo Yoo，现居法国，和莫桑比克出生的 Jupiter Child，现居丹麦——他们质疑西欧公众中酷儿移民群体的迷失方向。空间。探索布莱希特街景与这两位艺术家的作品之间令人惊讶的繁忙交叉点，揭示了公共空间中的表演政治，它倾向于定向而不是断裂。