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

这个实践研究博士将通过制作行为艺术解决酷儿老年学和安全酷儿空间的下降（阿瑟顿林2020），由于LGBTQ+事件的日益商品化，消毒和青年固定，从而有助于学术和艺术材料的匮乏。继Morganroth对年龄歧视者的衰落叙事（2004年）的质疑之后，Mangan的Staging Ageing（2013年）在表演背景下探索了这种叙事，但不是酷儿。爱德华的梅斯基特（2018年）将自己的衰老酷儿体验置于舞蹈背景中，而不是更广泛的实验表演领域。这几篇探讨酷儿老年学和表演的文章没有考虑到酷儿老龄化可能被庆祝的空间。这个博士学位将从根本上重新想象安全的酷儿空间，倡导经常被排斥或诋毁的衰老身体。这将与埃德尔曼的《没有未来》（2004年）、穆尼奥斯的《巡航乌托邦》（2009年）和哈尔贝罗的《失败的酷儿艺术》（2011年）进行对话，这些作品直面了来自父权制、资本主义繁殖动力的老龄化和未来性的异规范例子。这些文本提供了强有力的颠覆性，同性恋和老龄化的代理未来，我的实践研究试图体现。

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.