“Prayin’ for Queer Times: Choir Boy and Enactments of Transient Performance” serves as an introduction to this special issue of Cultural Dynamics on Transient Performance. Using a young, queer black man’s coming-of-age story at an African American all–boys prep school as a point of departure, the article elaborates transient performance as a new analytic that can account for the intersections of transnational movement, performance, geography, black and refugee peoples, and fugitivity as previewed in Tarell Alvin McCraney’s play, Choir Boy. The authors weave together queer theory and black feminist theory to articulate the spatiotemporal dimensions of transient performance. This theorization is followed by a brief synopsis of each contributor’s article. “Prayin’ for Queer Times” closes with a return to Choir Boy, specifically the sonic movements of the protagonist and the ways in which his performance gestures to marginalized peoples’ everyday practices of survival. It is the editors’ and contributors’ hope that this issue will spark conversation and action that helps lead to the fruition of more inhabitable, and thus queer, geographies.

“为酷儿时代时代祈祷：合唱团男孩和短暂表演的成文”作为本期《关于暂时表演的文化动力学》特刊的引言。文章以一个非洲裔美国黑人全日制预科学校的年轻黑人古怪的故事作为出发点，阐述了短暂的表现作为一种新的分析方法，可以解释跨国运动，表现和地理的交汇点塔雷尔·阿尔文·麦克雷尼（Tarell Alvin McCraney）的剧目《合唱团男孩》（ Choi Boy）中所预示的种族，黑人和难民民族以及逃逸。作者将酷儿理论和黑人女性主义理论结合在一起，以阐明瞬态表演的时空维度。在进行理论化之后，将简要介绍每个贡献者的文章。“为同性恋时代祈祷”以回归合唱团男孩为结尾，特别是主角的音速运动以及他的表演姿态对边缘化人民的日常生存实践的姿态。编辑和撰稿人希望这个问题能够引发对话和采取行动，从而有助于实现更多可居住，因而更酷的地区。