How can bell hooks' essay on Black women's cinematic looking relations be applied to radical theatre

从20世纪20年代到现在，一批黑人女剧作家一直在创作关于历史健忘症、性别和种族排斥等主题的重要作品。这些作品作为抵制的对象，涉及特定的文化和社会政治问题，但并不是那么实验性，以至于它们缺乏意义或缺乏连贯性。他们以实验的方式描绘真实的。这是一种黑人女权主义的实践。承担这一遗产的作家是非洲裔美国妇女，如阿德里安娜肯尼迪，恩托扎克山格和黑人英国妇女，如莫杰索拉阿德巴约，和黛比塔克绿色。这项基于实践的研究旨在通过确定存在于其作品中的审美模式和独特的习俗来增加这些黑人女性实验作家的话语。迄今为止，对黑人女性剧本创作和表演的研究主要集中在其内容、政治意图以及各种戏剧在剧院及其经济中的位置和方式（安德森，2008年）。但是，很少有研究严格关注调查这些作品的结构标准，提供了一个黑人女权主义美学，无论他们写的风格。这项研究解决了这一差距，并提出自己既是一个书面论文和创造性的挑衅，我自己的戏剧实验。通过这种方式，我将把我自己二十多年的获奖戏剧实践带到一个问题上，即黑人女权主义实践如何影响观众对打破霸权凝视的表演性的期望。我的意图是通过重新审视我自己和其他人的作品中的基本惯例来审视我自己的黑人女权主义声音，以达到一种更激进的戏剧实践。这很重要，因为黑人女权主义实践在戏剧和表演中的独特应用在很大程度上仍然没有得到认可。这一领域需要进一步研究和支持。

From the 1920s to the present, a cadre of Black women playwrights have been making key works on themes of historical amnesia, gender, and racial exclusion. These works act as objects of resistance that relate specific cultural and socio-political concerns but are not so experimental that they are absent of meaning or lacking coherence. They depict the real in an experimental way. They demonstrate a Black feminist practice. Writers bearing this legacy are African American women like Adrienne Kennedy, Ntozake Shange and Black British Women such as Mojesola Adebayo, and debbie tucker green. This practice-based research aims to add to the discourse around these Black female experimental writers by identifying the aesthetic patterns and unique customs that exist in their work. Heretofore research done on Black women's playwriting and performance has focused largely on its content, political intention and where or how various plays reside within the theatre and its economies (Anderson 2008). But little research has critically concerned itself with surveying these works for the structural criteria that provide for a Black feminist aesthetic regardless of the styles in which they are written. This research addresses this gap and proposes itself as both a written thesis and a creative provocation to my own dramatic experimentation. In this way I will bring to bear over twenty years of my own award-winning theatre practice to the question of how a Black feminist practice can affect audience expectations of performativity that ruptures the hegemonic gaze. My intention is to interrogate my own Black Feminist voice to reach for a more radica ltheatre practice by seeing anew the fundamental conventions in my own work and others.This is important because the distinct application of Black feminist practice in theatre and performance remains largely under recognized. This area demands further study and support.