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，一群黑人女性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。这些作品作为反抗的对象，与特定的文化和社会政治问题有关，但不是如此实验性，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现实。她们展示了黑人女权主义的实践。继承这一遗产的作家有艾德里安·肯尼迪、恩托扎克·尚格等非裔美国女性，以及莫杰索拉·阿德巴约和黛比·塔克·格林等英国黑人女性。本研究以实践为基础，旨在通过识别黑人女性实验作家作品中存在的审美模式和独特习俗，来增加对这些黑人女性实验作家的讨论。迄今为止，对黑人女性戏剧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或如何（Anderson 2008）。但很少有研究批判性地关注这些作品的结构标准，这些标准提供了黑人女权主义美学，而不管它们的写作风格如何。这项研究解决了这一差距，并提出自己既是一篇书面论文，也是对我自己的戏剧性实验的创造性挑衅。通过这种方式，我将带着我自己二十多年获奖的戏剧实践来探讨黑人女权主义实践如何影响观众对打破霸权凝视的表演的期望。我的目的是通过重新审视我自己和其他人作品中的基本惯例，来审视我自己的黑人女权主义声音，以达到更激进的戏剧实践。这一点很重要，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未得到认可。这个领域需要进一步的研究和支持。

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.