Formal and systemic boundaries can be problematic, for they easily become vehicles of normative attempts to polarize, enclose and isolate. A tactic that has high political currency today. This article elaborates on hybridity as methodology, expression and dynamic that can discard bodily and disciplinary boundaries in theatre and performance. Hybridity here will be discussed as a gale, an invisible and more-than-real current of affect, that reanimates the performer’s body, sweeps through non-human bodies and technological instruments, grazes the stage as if it was skin and shakes the physical and formal limits of theatre like bones. Such an investigation must however acknowledge the origin of the term hybridity in enforced miscegenation; from this viewpoint, hybridity is a mark of the systemic, racial violence that whiteness has exerted against other human beings in the name of the supposed universality and purity of the white subject. Hence, my argumentation takes up Sabine Broeck’s proposal to examine whiteness ‘as a white (wo)man’s burden’ and sets out to analyse performance strategies that efface the universality of whiteness through modes of hybridization. Weaving resources on intercorporeality, affect and abjection from feminist, disability and posthuman studies, the essay analyses the hybrid in three artistic practices that, in my view, negate the alleged impregnability of the white subject and affirm its vulnerability: the theatrical living sculptures of Olivier de Sagazan, the dance-less bodyscapes of Maria Donata D’Urso and my own human-machine configurations. An aesthetic and methodological analysis of these works reveal that the very notion of pureness is in itself a fiction, constructed to inhibit the development of a multiplicity of actions and expressions beyond, and within, the borders of dominant cultures.

中文翻译：

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跨越身体和纪律的界限

正式和系统的边界可能会产生问题，因为它们很容易成为分化、封闭和隔离的规范尝试的载体。这种策略在今天具有很高的政治价值。本文详细阐述了混合作为方法论、表达和动态，可以在戏剧和表演中摒弃身体和学科界限。这里的混合性将被讨论为一股狂风，一种无形的、超现实的情感流，它使表演者的身体恢复活力，扫过非人类的身体和技术仪器，像皮肤一样掠过舞台，震动身体和身体。戏剧的正式界限就像骨头一样。然而，这样的调查必须承认“强制通婚”一词的起源；从这个角度来看，混合性是系统性的标志，白人以所谓的白人主体的普遍性和纯洁性的名义对其他人施加的种族暴力。因此，我的论证采纳了 Sabine Broeck 的提议，即检查白人“作为白人（女性）男人的负担”，并着手分析通过杂交模式抹杀白人普遍性的绩效策略。这篇文章从女权主义、残疾和后人类研究中编织了关于肉体、情感和堕落的资源，分析了三种艺术实践中的混合体，在我看来，这些实践否定了白人主体所谓的坚不可摧并肯定了它的脆弱性：奥利维尔的戏剧活雕塑de Sagazan，Maria Donata D'Urso 的无舞蹈人体景观和我自己的人机配置。