Abstract:

Black theatremakers have utilized performance to imagine and stage an alternative place where policing is abolished. They usurp the normative theatrical apparatuses to enact countergeographies that become meaningful ways to resist social control. In so doing, they inhabit (and push other artists and audiences to inhabit) theatre differently through transforming the geography of the theatre itself. Dominique Morisseau, Erika Dickerson-Despenza, Aleshea Harris, and Jordan Cooper urge us to see how their spatial construction is central to nourishing and emphasizing Black ways of knowing and being in the theatre. Through their dramaturgical structures within and beyond the plays themselves, I argue that these artists also consider how theatrical space can be manipulated to create alternative rules of engagement whereby blackness can be negotiated, produced, and known on different terms that the carceral system may dictate. In the broadest sense, I advocate for critical attention to the intersections of abolition, space, and Black theatre. This essay is about how space functions as a theatrical apparatus of anti-Black exclusion while also serving as the canvas for Black artists to revolt within, against, and in the face of anti-Black terror.

 抽象：

黑人戏剧制作人利用表演来想象和上演一个废除警务的替代场所。他们篡夺了规范性的戏剧机构，制定了反地域学，成为抵抗社会控制的有意义方式。在此过程中，他们通过改变剧院本身的地理环境，以不同的方式居住在剧院中（并推动其他艺术家和观众居住在剧院中）。多米尼克·莫里索 （Dominique Morisseau）、埃里卡·迪克森-德斯彭扎 （Erika Dickerson-Despenza）、阿莱谢·哈里斯 （Aleshea Harris） 和乔丹·库珀 （Jordan Cooper） 敦促我们看到他们的空间构建如何成为滋养和强调黑人在剧院中认识和存在方式的核心。通过他们在戏剧本身内外的戏剧构思结构，我认为这些艺术家还考虑了如何操纵戏剧空间以创造替代的参与规则，从而可以按照监禁系统可能规定的不同条件来协商、生产和了解黑人。从最广泛的意义上讲，我主张批判性地关注废奴、空间和黑人戏剧的交叉点。这篇文章是关于空间如何作为反黑人排斥的戏剧工具，同时也是黑人艺术家在反黑人恐怖内部、反对和面对反黑人恐怖的画布。