Abstract This article situates choreography within topical debates on post-privacy, critically interrogating a trend toward the exposure of intimate life and sexuality in performance. A scene from Pina Bausch’s Window Washer (1997), shedding light on domestic violence and the sexualized female body, is related to the feminist assertion that “the personal is political.” Michael Parmenter’s A Long Undressing (1995), a piece about the artist’s identity as a gay man, catalyzes discussions of the closet, individual authenticity, and queer identity politics. I assess the two works’ contributions to discourses on the private-public distinction, drawing on a range of contrasting perspectives from philosophical, sociological, and political fields.

中文翻译：

---

后隐私时代的编舞：Pina Bausch 和 Michael Parmenter 的性、亲密和披露

摘要 本文将编舞置于关于后隐私的话题辩论中，批判性地质疑表演中暴露亲密生活和性行为的趋势。皮娜·鲍什 (Pina Bausch) 的 Window Washer (1997) 中的一个场景揭示了家庭暴力和性感的女性身体，与女权主义断言“个人即政治”有关。迈克尔·帕门特 (Michael Parmenter) 的《长时间脱衣》（A Long Undressing，1995 年）是一篇关于艺术家作为同性恋者身份的作品，引发了对壁橱、个人真实性和酷儿身份政治的讨论。我利用哲学、社会学和政治领域的一系列对比观点来评估这两部作品对关于公私区分的论述的贡献。