This article examines the innovative work of British visual and theatre artist Julia Bardsley and more specifically her performance Almost the same (feral rehearsals for violent acts of cultures). Bardsley’s work operates on the cusp of theatre and the gallery and questions the vocabularies and conceptual frameworks available to us to discuss difficult theatrical experiences. While her work seems to render these frameworks obsolete, it also opens up a space for new vocabularies. Using a re-purposed critical language drawing from literary studies, film and science fiction (Mark Fisher on the weird, Eve Oishi on visual perversity and Jack Halberstam on wildness), this article proposes the weird as a fundamental category for unpacking Bardsley’s work. The weird is understood here as a type of aesthetic experience or affect, a space of critical potential for reading and making theatre work as well as a critical trope for articulating what lies beyond normative understandings of sexuality, identity and desire. This article considers the types of unruly and excessive desires that appear as the driving forces in Bardsley’s work and considers articulating the experience it engenders by reaching beyond the threshold of ordinary experience and into the world of the weird.

中文翻译：

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怪人的排练：朱莉娅·巴德斯利的几乎一样（暴力文化行为的排练）

本文考察了英国视觉和戏剧艺术家 Julia Bardsley 的创新作品，更具体地说是她的表演几乎相同（针对文化暴力行为的野蛮排练）。Bardsley 的作品在剧院和画廊的风口浪尖上运作，并质疑可供我们讨论困难的戏剧体验的词汇和概念框架。虽然她的工作似乎使这些框架过时了，但它也为新词汇开辟了空间。使用从文学研究、电影和科幻小说中汲取的重新利用的批判性语言（Mark Fisher 论怪异，Eve Oishi 论视觉反常，Jack Halberstam 论野性），本文将怪异作为解开 Bardsley 作品的基本类别。怪异在这里被理解为一种审美体验或情感，一个具有批判潜力的空间，用于阅读和制作戏剧作品，以及表达超出对性、身份和欲望的规范理解的东西的批判性比喻。本文考虑了在 Bardsley 的作品中出现的不守规矩和过度欲望的类型，并考虑通过超越普通体验的门槛并进入怪异的世界来阐明它所产生的体验。