This essay examines object-driven performances from the perspective of disposability in order to detail threads of dark ecology that inform the complexities of performance practice in an era of anthropogenic climate change. I begin ‘at home’ with Geoff Sobelle's The Object Lesson (2015) in which the accumulation and disposability of objects becomes uniquely visible in human narratives and perceptual fields. In The Object Lesson, I examine the mode of disposability that occurs in everyday historical and memorial practices of storytelling that are invested in keeping and getting rid of STUFF. I build upon this foundation in a critique of performing plastics, which bend human perceptions of reality and subjectivity through pervasive encounters with familiar-strange, yet redundant, plastic entities that resist and promote disposability. I take up dark ecology in order to think through the contradictions of dispose-able realities that are shaped through sensuous inclusivity and withdrawal from human perceptibility. I ask: how does disposability demarcate and order the living and the dead within a grid of intelligibility; how do performances of waste disrupt human capacities to perceive and order the world; how might the ordering of these materials reconfigure the sensible in a singular materialization of Morton's (2016) dark ecology (depressing, sweet, and uncanny); and how might disposability and waste as geophysical forces—life that creates death—aid in reimagining performance practice beyond human spatiotemporal scales, within the bio and necropolitical, and against Jon McKenzie's (2001) performance mandate ‘perform or else’ reconfigured as ‘perform and else’ (perform and be discarded)?

中文翻译：

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我甜蜜的一次性，哦，埋葬活人，发掘死人

本文从可支配性的角度研究对象驱动的表演，以详细说明黑暗生态学的线索，这些线索为人为气候变化时代的表演实践的复杂性提供了信息。我从 Geoff Sobelle 的“对象课程”（2015 年）“在家”开始，其中对象的积累和可处置性在人类叙事和感知领域中变得独一无二。在 The Object Lesson 中，我研究了发生在日常历史和纪念性讲故事实践中的可支配模式，这些实践用于保存和清除 STUFF。我在此基础上对表演塑料进行了批评，它通过与熟悉陌生但多余的塑料实体的普遍接触来扭曲人类对现实和主观性的看法，这些实体抵制和促进可处置性。我采用黑暗生态学，以思考可处置的现实之间的矛盾，这些现实是通过感性的包容性和对人类可感知性的退出而形成的。我问：可支配性如何在可理解性的网格内划分和排序生者和死者？废物行为如何破坏人类感知和秩序世界的能力；这些材料的排序如何在莫顿（2016）黑暗生态（令人沮丧、甜蜜和不可思议）的单一物化中重新配置理智；以及作为地球物理力量——生命创造死亡——的可处置性和浪费如何帮助重新想象超越人类时空尺度、生物和死灵政治以及对抗乔恩·麦肯齐的表演实践”