'Who Cares?' Exposing the Critical Paradox of Care in Performances of Disability and Disease Through the Lens of Disclosure
'Who Cares?' Exposing the Critical Paradox of Care in Performances of Disability and Disease Through the Lens of Disclosure
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谁在乎？
DOI：
10.1080/13528165.2022.2197528
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发表时间：
2023
影响因子：
0.1
通讯作者：
Maguire-Rosier K
中科院分区：
文献类型：
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作者：
Maguire-Rosier K
在制作和写作舞蹈、戏剧和表演的过程中需要小心。残疾和痴呆的表演者强调了这一需求，因为赌注提高了。然而，一个“粘性”悖论出现了。残疾人权利活动家对护理的批评达到了危险的贬值程度。谁在乎？他们可以说，在所有的认真。然而，我们必须倾听，因为历史上的虐待，忽视，和压迫残疾人和痴呆症患者的名义照顾，这仍然在今天。动员残疾奖学金和残疾表现理论Maguire-Rosier和吉布森批评unproblematized照顾理论和残疾权利话语，这在很大程度上是反照顾，通过对残疾艺术家和痴呆症表演者在舞台上和舞台外的揭露行为的调查来加强他们的论点。这些行为质疑关于残疾和疾病的医学叙述，引起了一种紧张-一种对“护理”的抵制和拥抱。Maguire-Rosier通过检查悉尼Murmuration对舞蹈剧院作品的创造性发展来强调她的论点，Days Like These（2017），呼吁将披露行为理解为关怀的表现。吉布森回应Maguire-Rosier的担忧，他在康涅狄格州希尔豪斯研究了《我可能关心的人》（To Whom I May Concern®，2018）。在那里，痴呆症患者不一定认为自己是残疾人，也不一定认为自己是媒体上经常贴上的“患者”，他们将披露作为创造性的表达。本文提出了内在的矛盾，照顾集中体现在困境的作者披露代表性能从业者在这项研究中。
Care needs to be taken in the process of making – and writing about – dance, theatre, and performance. Performers with disability and dementia highlight this need because the stakes are raised. Yet a ‘sticky’ paradox emerges. Disability rights activists are critical of care to the point of dangerous devaluation. ‘Who cares?’ They may say, in all earnestness. Yet, we must listen because of the history of abuse, neglect, and oppression of disabled people and people with dementia in the name of care, which continues today.Mobilising disability scholarship and disability performance theory Maguire-Rosier and Gibson critique unproblematised care theories and disability rights discourses, which are largely anti-care, pressing their argument through an investigation of acts of disclosure – both on stage and off – by artists with disability and performers living with dementia. These acts interrogate medical narratives of disability and disease, giving rise to a tension – a resistance to, and an embrace of, ‘care’. Maguire-Rosier presses her argument by examining Sydney-based Murmuration’s creative development of dance theatre work,Days Like These(2017), calling for acts of disclosure to be understood as performances of care. Gibson responds to Maguire-Rosier ‘s concerns by examiningTo Whom I May Concern®(2018) at Hill House Connecticut, where people with dementia, who do not necessarily see themselves as disabled, or ‘sufferers’ as they are frequently labelled in the media, enact disclosure as creative expression. The article presents the contradictions inherent to care epitomised not least in the dilemma of the authors disclosing on behalf of performance practitioners in this research.