ABSTRACT I offer a critical reading of Naomi Iizuka’s play Good Kids, considering the script, the performance of the play I watched, and the talkback with the cast. I argue that Good Kids enacts performative neutrality about sexual assault. By “performative neutrality,” I mean not a performance of neutrality, but a productive construction of neutrality whereby the play forecloses side-taking. I conclude that performative neutrality buttresses rape culture by exacerbating ambiguity myths, he said/she said, and the miscommunication model of rape.

中文翻译：

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饭冢直美的《好孩子》中的表演中立和强奸文化

摘要 我对饭冢直美的戏剧《好孩子》进行了批判性阅读，考虑到剧本、我观看的戏剧表演以及与演员的对话。我认为 Good Kids 对性侵犯采取了表现中立的态度。所谓“表演中立”，我指的不是中立的表演，而是中立的一种富有成效的构建，其中该剧排除了旁观者。我的结论是，他说/她说，表演中性通过加剧模棱两可的神话和强奸的误解模型来支持强奸文化。