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

这个实践研究博士将综合从蓬松的有影响力的法国实验室戏剧实践和现场艺术拖曳表演的话语，以诞生一种新的方法来进行激进的表演，作为边缘化机构的自由实践。基于过程和反思，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，bouffon有很大的潜力，提供实验室戏剧贝尔胡克在教学中描述为“自由的实践”：体现实践，抵制社会政治暴政，实现边缘化的自我（1994）。社会的弃儿们喜欢用邪恶的幽默来亵渎“神圣”的意识形态和权威，蓬松的发型是由表演者训练师雅克·勒科克和菲利普·高利尔塑造的，“什么都不相信，什么都取笑”（勒科克，1997：124）。凭借其边界推动行动，蓬松物与胡克对边缘空间中蓬勃发展的替代实践和知识的描述（胡克，1989）相一致。然而，在目前的实践中，在莱科克的艺术家和艺术家，如Sacha Baron Cohen，Poxy和Red Bastard，bouffon主要是由白色身体行使，Spatz断言，体现了殖民性的分类（2019）。陈Minh-ha的分析如何身体的颜色被塑造为其他亵渎科目（1989），当创造一个蓬松，表演者往往被训练模仿畸形，夸张的身体，嘲笑非白人的身体特征和刻板印象。该博士旨在实现蓬松理论所提供的自由实践，并通过利用现场艺术实践所使用的技术来实现其实践的非殖民化，这些艺术实践以戏谑和批判的方式挑战种族，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冯的激进原则来丰富她们的实践？2)如何在植根于拖曳和后殖民身份的现场艺术实践中看待蓬松的元素？3)这些活的艺术作品如何在现有的勒科克的蓬松实践中揭示新的非殖民化，包容性的可能性？通过访谈和参与者反馈的支持，我将研究和比较法国波丰血统和一系列艺术家和制造商的实践，包括吉列尔莫·戈麦斯·佩尼亚，乔科·安瓦尔和咬桃。借助于hooks和Trinh的交叉性的Germinal理论框架，以及对grotesue概念的调查，我将把来自蓬松物和现场艺术实践的练习合成为边缘化身份的表演者的原始工具。该项目旨在：批判性地重新设想蓬松实践的欧洲中心观点;创造更具包容性的实验室戏剧方法;提高边缘化身份艺术家的技能和实践。

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.