Profane on a Sacred Land: How can marginalized bodies devise themselves into existence within laboratory theatre practice?

这一实践研究博士将综合有影响力的法国实验室戏剧实践布芬和现场艺术变装表演的论述，诞生一种新的激进表演方法，作为对边缘化群体的自由实践。基于过程和反身性的实验室戏剧经常探索表演与其社会政治背景的关系(Schino，2009)。从理论上讲，布芬具有巨大的潜力，可以提供贝尔·胡克斯在《越界教学》中所描述的实验室剧场：一种具体的实践，它抵制社会政治暴政，实现被边缘化的自我(1994)。被社会抛弃的人乐于用恶魔般的幽默亵渎“神圣”的意识形态和权威，这种布芬是由表演者培训师Jacques Lecoq和Philippe Gaulier塑造的，他们“什么都不相信，什么都拿来取笑”(Lecoq，1997：124)。凭借其突破边界的行为，布丰与胡克斯对边缘空间中蓬勃发展的替代实践和知识的描述一致(胡克斯，1989)。然而，在基于Lecoq的教育学和Sacha Baron Cohen、Poxy和Red Bastard等艺术家目前的做法中，布芬主要由白人能干的身体练习，斯帕茨断言，这体现了殖民性的分类(2019年)。与Trin T.Minh-ha关于有色人种的身体是如何被塑造成其他亵渎的主体的分析(1989)相呼应，在创作布芬时，表演者经常被训练来模仿怪诞、夸张的身体，嘲笑非白人的身体特征和刻板印象。这个博士试图实践布丰理论提供的自由实践，并通过利用现场艺术实践所使用的技术来实现其非殖民化，这些艺术实践开玩笑地和批判性地挑战种族、性别和国籍的表现。研究问题包括：1)有色人种和/或流亡身份的女性如何利用布芬的激进原则来丰富她们的实践？2)如何在植根于拖沓和后殖民身份的现场艺术实践中看待布芬的元素？3)那些活的艺术作品如何揭示现有勒可克基础上的布芬实践中新的去殖民主义和包容性的可能性？主要利用实践研究方法，辅以采访和参与者反馈，我将审查和比较法国布芬世系和包括吉列尔莫·戈麦斯-佩尼亚、佐科·安瓦尔和被咬的桃子在内的一系列艺术家和制作人的实践。在胡克斯和Trin的交叉性生发理论框架和对怪诞概念的调查的帮助下，我将把源自布芬和现场艺术实践的练习综合成原始工具，供身份边缘化的表演者使用。该项目的目的是：批判性地重新设想以欧洲为中心的布芬做法；创建更具包容性的实验室戏剧方法；加强边缘身份艺术家的技能和做法。

This practice research PhD will synthesize discourse from the influential French laboratory theatre practice of bouffon and live art drag performance to birth a new methodology for making radical performance, as a practice of freedom for marginalized bodies. Process-based and reflexive, laboratory theatre frequently explores performance's relationship with its sociopolitical context (Schino, 2009). Theoretically, bouffon has great potential to offer laboratory theatre what bell hooks described in Teaching to Transgress as a 'practice of freedom': embodied praxis that resists sociopolitical tyranny to actualize the marginalized self (1994). Outcasts of society that delight in profaning 'sacred' ideologies and authorities with diabolical humor, the bouffon was shaped by performer trainers, Jacques Lecoq and Philippe Gaulier, to 'believe in nothing and make fun of everything' (Lecoq, 1997: 124). With its boundary-pushing actions, bouffon aligns with hooks' depiction of alternative practices and knowledge thriving in marginal spaces (hooks, 1989). However, within its current practice within Lecoq-based pedagogies and by artists such as Sacha Baron Cohen, Poxy and Red Bastard, bouffon is primarily exercised by white able bodies, which, Spatz asserts, incarnate the categorization of coloniality (2019). Echoing Trinh T. Minh-ha's analysis of how bodies of color are fashioned as Othered profane subjects (1989), when creating a bouffon, performers are often trained to mimic monstrous, exaggerated physicalities that mock non-white physical characteristics and stereotypes. This PhD seeks to fulfil the practice of freedom offered by the theory of bouffon and to decolonize its practice, by drawing on the techniques utilized by live art practices that playfully and critically challenge representations of ethnicity, gender and nationality. Research questions include:1) How can women of color and / or exilic identities utilize bouffon's radical principles to enrich their practice?2) How can elements of bouffon be viewed in live art practices rooted in drag and postcolonial identities? 3) How can those live art works reveal new decolonial, inclusive possibilities in existing Lecoq-based bouffon practice?Primarily utilizing practice research methodology, supported by interviews and participant feedback, I will examine and compare practices of the French lineage of bouffon and a range of artists and makers, including Guillermo Gómez-Peña, Joko Anwar and The Bitten Peach. Aided by a framework of germinal theories of intersectionality by hooks and Trinh, and an investigation into notions of the grotesue, I will synthesize exercises stemming from the bouffon and live art practices into original tools for performance makers from marginalized identities. This project aims to: critically re-envision the Eurocentric perspective of bouffon practices; create more inclusive laboratory theatre approaches; enhance the skills and practices of artists from marginalized identities.