When I am Old, I shall Wear Purple Nail Varnish: Utilising performance art to construct queer spaces that celebrate and advocate for ageing bodies

这一实践研究博士学位将通过创作行为艺术来解决同性恋老年学和安全酷儿空间的衰落，从而有助于学术和艺术材料的匮乏(Atherton Lin 2020)，这是由于LGBTQ+活动日益商品化、消毒和年轻人固定所导致的。在摩根罗斯对年龄歧视者衰落叙事(2004)的审问之后，曼根的《舞台变老》(2013)在表演背景下探索了这一叙事，但不是奇怪的。爱德华的研究(2018)将他自己的老化同性恋经历置于舞蹈背景下，但不是更广泛的实验表演领域。这些探索酷儿老年学和性能的少数文本没有考虑庆祝酷儿老龄化的空间。这位博士将从根本上重新想象安全的酷儿空间，倡导经常被排除在外或诋毁老化的身体。这将在与埃德尔曼的《没有未来》(2004)、穆尼奥斯的《巡航乌托邦》(2009)和哈伯斯塔姆的《失败的酷儿艺术》(2011)的对话中发挥作用，这些作品面对的是源于父权和资本主义繁殖动力的变态的老龄化和未来的例子。这些文本提供了关于酷儿和衰老的强大的颠覆性、激励性的未来，我的实践研究试图证明这一点。

This practice research PhD will contribute to a paucity of academic and artistic materials by producing performance art addressing queer gerontology and the decline of safe queer spaces (Atherton Lin 2020), resulting from the increasing commodification, sanitisation and youth fixation of LGBTQ+ events. Following Morganroth's interrogation of the ageist 'narrative of decline (2004), Mangan's Staging Ageing (2013) explores this narrative in performance contexts, but not queerness. Edward's Mesearch (2018) situates his own ageing queer experiences within dance contexts, but not the wider field of experimental performance. These few texts exploring queer gerontology and performance do not consider the spaces in which queer ageing might be celebrated. This PhD will model radically re-imagined safe queer spaces that advocate for frequently excluded or denigrated ageing bodies. This will work in dialogue with Edelman's No Future (2004), Muñoz's Cruising Utopia (2009), and Halberstam's The Queer Art of Failure (2011), which confront heteronormative examples of ageing and futurity stemming from the patriarchal, capitalist drive to reproduce. These texts offer potent subversive, agentive futures of queerness and ageing, which my practice research seeks to manifest.