Queer, crip live art in the post 'trans tipping point' era: an archive of affect

结合社会科学和表演方法和理论，这个跨学科的研究中心通过交叉批判的酷儿、跨性别和残疾包容的概念镜头，产生了新的观众历史化和理论化的方法。本项目运用影响理论和感觉人种学来分析英国残疾、酷儿、跨性别或性别不一致（DQTGNC）艺术家的现场艺术，记录后“跨性别引爆点”时代的现场艺术。2014年，《时代》杂志预告了跨性别者民权的“转折点”，将跨性别者和不符合性别的人暴露在前所未有的公众视野、法律审查和辩论之下。虽然平等、包容、多样性和可及性出现在主流话语中，但英国的《平等法案》（2010）自相矛盾地先于基于性别认同、性取向和残疾等受保护特征的仇恨犯罪案件的记录逐年增加（ONS 2017）。这表明，能见度不是消除歧视的万灵药。在这种背景下，可见性和可及性将支持对现场艺术如何解决和对抗DQTGNC人的历史隐身性及其持续边缘化的批判性分析。通过酷儿和残疾人主导的研究伙伴Culture Device， Vital exposure， Raze Collective和Southbank CentreUnlimited Festival，追踪批判性“瘸子”和酷儿理论立场在包容性，可访问的现场艺术中的交叉点，这项民族志研究将为调查体现的规范概念以及理论化当代现场艺术中情感和行动主义的角色提供基础。总体目标是揭示不被认同的生活艺术，既不同化也不严格反对主流文化（Muñoz 1999），如何以及为什么可以作为一种对立的凝视（hooks 2003），作为挑衅，抵抗和生存的行为。由此产生的英国残疾人、酷儿表演者的现场艺术表演档案，以观众的情感、感官瘸腿识别体验为中心，将提出影响未来现场艺术制作的新实践。

Combining social science and performance methods and theory, this interdisciplinary research centres ongenerating new methods of historicisation and theorisation of spectatorship through an intersectionalcritical queer, trans- and disability-inclusive conceptual lens. This project applies affect theory and sensoryethnography to analyse live art by disabled, queer, trans- or gender-non conforming (DQTGNC) artists inthe United Kingdom, documenting live art in the post 'trans-tipping point' era.TIME magazine's 2014 heralding of a 'tipping point' for transgender civil rights exposed trans and gender non-conforming lives to unprecedented public visibility, legal scrutiny and debate. While equality, inclusivity,diversity and accessibility appear in mainstream discourse, the UK's Equality Act (2010) paradoxicallypreceded a year-on-year increase in recorded cases of hate crime based on protected characteristics suchas gender identity, sexuality and disability (ONS 2017). This suggests that visibility is no panacea fordiscrimination. In this context, in/visibility and accessibility will underpin this critical analysis of how live artcan address and counter the historical invisibility of DQTGNC people and their ongoing marginalisation.Tracing intersections of critical 'crip' and queer theoretical stances in inclusive, accessible live art by queerand disability-led research partners Culture Device, Vital xposure, Raze Collective and Southbank CentreUnlimited Festival, this ethnographic research will provide a basis to investigate normative notions ofembodiment and to theorise the roles of affect and activism in contemporary live art. The overall objectiveis to unpack how and why disidentified live art, which neither assimilates nor strictly opposes dominantcultures (Muñoz 1999) can operate as an oppositional gaze (hooks 2003), as provocations, acts of resistanceand of survival. The resultant archive of live art performances by disabled, queer performers in the UK,centred on the affective, sensory crip-identified experience of the spectator will propose new praxis toinfluence the future of live art production.