Ugly Feelings
Ugly Feelings
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丑陋的感觉
DOI：
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发表时间：
2022
期刊：
影响因子：
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通讯作者：
Amanda Stuart Fisher
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文献类型：
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作者：
Amanda Stuart Fisher
在疫情最严重的时候，关怀的概念和相互照顾的道义责任迅速进入公众话语。然而，尽管英国政府试图向我们保证，我们“都在一起”，但很快就出现了一种截然不同的情况，因为缺乏个人防护装备意味着NHS工作人员发现自己死于Covid-19的风险更大。这种风险也不成比例地分布，因为许多在一线服务的黑人和全球多数NHS员工比他们的白人同事面临更大的风险。本文研究了2020年疫情最严重时播放的三场数字独白表演，这些表演涉及焦虑、恐惧和冒险的负面情绪，这些情绪构成了当时种族化护理的背景。来自前线的故事…和其他故事-第二部分：NHS精神卫生工作者，是由塔拉瓦剧院制作的逐字演出，而Meera Syal的Rivers和Bernadine Evaristo的First， Do No Harm都受老维克剧院委托，作为最大财富项目的一部分放映，纪念NHS的成立。这些表演以不同的方式探索护理，但通过突出黑人和全球大多数NHS员工的经历来实现这一目标。这些表演聚焦于关心他人的恐惧和风险，借用了Sianne Nagi（2005）的作品，我将其描述为关心的“丑陋感觉”。这些独白并没有描绘关怀的美学，而是揭露了关怀的风险，以及黑人和全球大多数NHS护理人员在照顾他人需求时所忍受的种族主义的丑陋。通过对这些NHS护理人员所经历的歧视和剥夺权利的时刻的检查，这些表演将这些“丑陋的感觉”转化为关键生产力的场所，产生的工作呼吁我们分散我们对护理的概念，并考虑我们自己的政治忠诚，以要求渐进的改变。
At the height of the pandemic, the concept of care and the moral imperative to take care of one another rapidly entered public discourse. Yet while the UK government sought to assure us that we were ‘all in this together’, a very different picture soon emerged as a lack of protective personal equipment meant that NHS staff found themselves at a greater risk of dying of Covid-19. This risk was also disproportionately distributed as many Black and Global Majority NHS staff, who were in front line services, were more at risk than their white colleagues. This article examines three digital monologue performances that were streamed at the height of the pandemic in 2020 and which engage with the negative feelings of anxiety, fear and risk taking which framed contexts of racialised care at this time. Tales from the front line … and other stories-Part 2: NHS Mental Health Worker, was a verbatim performance produced by Talawa Theatre, while Rivers by Meera Syal and First, Do No Harm by Bernadine Evaristo were both commissioned by the Old Vic Theatre and screened as part of The Greatest Wealth project, commemorating the foundation of the NHS. In different ways, these performances explore care giving, but do so by foregrounding the experiences of Black and Global Majority NHS staff. Focusing on the fear and risks of caring for others, these performances explore what, borrowing from Sianne Nagi (2005), I will describe as the ‘ugly feelings’ of care. Instead of depicting the aesthetics of care-giving, these monologues expose the riskiness of caring and the ugliness of racism endured by Black and Global Majority NHS carers while attending to the needs of others. Through an examination of the moments of discrimination and disempowerment experienced by these NHS carers, these performances transform these ‘ugly feelings’ into sites of critical productivity, generating work that calls upon us to decentre our conceptualisation of care and to consider our own political allegiance in order to demand progressive change.