• Editorial Comment:Abolition and Performance
• Ariel Nereson

[A]bolition has to be the way to relate to one another. So, not a tool to implement, but a posture and a way of life.

—Ashon Crawley¹

Theatre, dance, and performance studies offer many methodological tools for understanding practice and interpreting theories embedded in and arising from practice. Attending to time, space, embodiment, affect, energy, and lived experience is a foundational commitment of our fields. In bringing abolition and performance together as paired keywords, this special issue seeks to understand how interventions in theatre, dance, and performance studies can be tools that help us reorient our individual and collective postures toward abolition. Abolition is a set of relations, a doing, a way of life, as Ashon Crawley writes, that seeks the undoing of the forms of relation we currently live under in the racial capitalocene that presume the necessity of carcerality in order to recompense harm.² In other words, rejecting modes of social organization oriented around punishment (and hegemonic assertions of whom can be punished, and how) requires practicing the postures of "restorative justice, abolition, hospitality, [and] joy," both as individual alignments and in community.³

This special issue explicitly connects theatre, dance, and performance studies with the carceral turn in the humanities and social sciences, where, as Robert Fanuzzi writes, "abolition" refers to a "horizon of change" that encompasses "an end to traditions, or epistemologies, that normalize centuries of racial oppression and gender inequality as inevitable, if regrettable, features of modernity and which center or overrepresent Western European male concepts of humanity as their default."⁴ Taking up "carcerality" [End Page xi] as a keyword, Beth E. Richie defines the term as "a condition or set of social arrangements that advances a reliance on punishment or incapacitation."⁵ Across disciplines, performance is a flexible analytic for understanding the circulation of power. In an address to members upon becoming president of the American Studies Association, abolitionist geographer Ruth Wilson Gilmore recounted the many intersections between her study in drama and her work in abolitionist thinking and organizing, encouraging listeners to think of public policy as a "script" for the future.⁶

As a focus of theatre, dance, and performance studies, abolition has a short but powerful bibliography. Abolition and performance intersect memorably in a foundational contribution to Black performance studies from Daphne Brooks in her chapter "The Escape Artist: Henry Box Brown, Black Abolitionist Performance, and Moving Panoramas of Slavery."⁷ The influential collection Race and Performance after Repetition (Duke University Press, 2020), coedited by Soyica Diggs Colbert, Douglas A. Jones, Jr., and Shane Vogel, features several essays grounded in performance studies that take up carcerality as their primary focus.⁸ More recently, Robin Bernstein has documented how William Freeman refused to perform according to the script of Auburn State Prison in the 1840s and how understanding the motivations and consequences of his refusal rewrites the history of incarceration in the United States.⁹ Performance-adjacent works such as Nicole R. Fleetwood's Marking Time: Art in the Age of Mass Incarceration and its theorization of carceral aesthetics have proven influential across several disciplines; performance has likewise become central to understanding carcerality, as in Sam C. Tenorio's jump: Black Anarchism and Antiblack Carcerality, which reads the motion of jumping as a repertoire of Black political refusal.¹⁰ From staged performances that activate spectacle in order to stir their audiences¹¹ to studies like Jessi Lee Jackson's, wherein police culture is defined as "every performance of identification with the existing [End Page xii] social and economic order and the violence used to maintain it," "performance" is both a salient site and a flexible analytic for understanding the embodied practices of the carceral state and of abolition's past, present, and future alternatives.¹²

This special issue opens with a subject who has a long association with abolition: the mythic and historic John Brown. Ben Spatz, SAJ, Eero Laine, Michelle Liu Carriger, and Henry Bial invite readers into a multifaceted exploration of Brown's many iterations as they flicker through racial formations across media from murals to mascots and taglines to television. Through the authors' collective focus on "the unbearable...

• 
  编者按：废除与执行
•  阿里尔·内雷森

[A]bolition 必须是彼此联系的方式。所以，不是一个实现的工具，而是一种姿态和一种生活方式。

 —阿森·克劳利¹

戏剧、舞蹈和表演研究为理解实践和解释嵌入实践和从实践中产生的理论提供了许多方法论工具。关注时间、空间、体现、情感、能量和生活经验是我们领域的基本承诺。通过将废除奴隶制和表演作为成对的关键词，本期特刊试图了解戏剧、舞蹈和表演研究的干预如何成为帮助我们重新定位个人和集体姿态以废除奴隶制的工具。正如阿松·克劳利（Ashon Crawley）所写，废除奴隶制是一组关系、一种行为、一种生活方式，它寻求瓦解我们目前生活在种族资本世中的关系形式，这些关系形式假定了监禁的必要性，以补偿伤害。² 换句话说，拒绝以惩罚为导向的社会组织模式（以及关于谁可以受到惩罚以及如何受到惩罚的霸权主张）需要实践“恢复性正义、废除奴隶制、款待 [和] 快乐”的姿态，既作为个人结盟，也作为社区。³

本期特刊明确地将戏剧、舞蹈和表演研究与人文和社会科学的囚禁转向联系起来，正如罗伯特·法努齐 （Robert Fanuzzi） 所写，“废除”指的是“变革的视野”，其中包括“结束传统或认识论，这些传统或认识论将几个世纪以来的种族压迫和性别不平等正常化为不可避免的、尽管令人遗憾的现代性特征，并以西欧男性人性观念为中心或过度代表其默认。⁴ 以“囚禁”[结束第 习 页] 为关键词，贝丝·E·里奇（Beth E. Richie）将这个词定义为“一种或一组社会安排，促进了对惩罚或丧失行为能力的依赖”。⁵ 跨学科，绩效是理解权力循环的灵活分析。在成为美国研究协会主席后对会员的演讲中，废奴主义地理学家露丝·威尔逊·吉尔摩 （Ruth Wilson Gilmore） 讲述了她的戏剧研究与她在废奴主义思想和组织方面的工作之间的许多交叉点，鼓励听众将公共政策视为未来的“剧本”。⁶

作为戏剧、舞蹈和表演研究的重点，废除有一个简短但有力的参考书目。废奴和表演在达芙妮·布鲁克斯 （Daphne Brooks） 的章节“逃脱艺术家：亨利·博克斯·布朗、黑人废奴主义者表演和奴隶制的动人全景”一章中对黑人表演研究的奠基性贡献中令人难忘。⁷ 由 Soyica Diggs Colbert、Douglas A. Jones， Jr. 和 Shane Vogel 合编的有影响力的合集《重复后的种族和表现》（杜克大学出版社，2020 年）收录了几篇以表演研究为基础的文章，这些文章以监禁为主要关注点。⁸ 最近，罗宾·伯恩斯坦 （Robin Bernstein） 记录了威廉·弗里曼 （William Freeman） 如何拒绝按照 1840 年代奥本州立监狱 （Auburn State Prison） 的剧本表演，以及理解他拒绝的动机和后果如何改写美国的监禁历史。⁹ 与行为相关的作品，如 Nicole R. Fleetwood 的 Marking Time： Art in the Age of Mass Incareration 及其对囚禁美学的理论化，已被证明在多个学科中具有影响力;表演同样成为理解囚禁的核心，如山姆·特诺里奥 （Sam C. Tenorio） 的《跳跃：黑人无政府主义和反黑人囚禁》（jump： Black Anarchism and Antiblack Carcerality），该书将跳跃的动作解读为黑人政治拒绝的曲目。¹⁰ 从激活奇观以激起观众兴趣的舞台表演¹¹ 到像杰西·李·杰克逊 （Jessi Lee Jackson） 这样的研究，其中警察文化被定义为“对现有 [完第 xii 页] 社会和经济秩序以及用于维持它的暴力的认同的每一次表演”，“表演”既是一个突出的场所，也是一个灵活的分析，用于理解监禁国家和废除奴隶制过去的具体做法。 现在和未来的替代方案。¹²

本期特刊以一个与废奴有着长期联系的主题开篇：神话般的历史人物约翰·布朗。Ben Spatz、SAJ、Eero Laine、Michelle Liu Carriger 和 Henry Bial 邀请读者对布朗的多次迭代进行多方面的探索，因为他们在从壁画到吉祥物、标语到电视的媒体中闪烁着种族形态。通过作者对“难以忍受的......