In this essay, I reexamine Yvonne Rainer and Steve Paxton's 1963 danceWord Words, arguing that this apparently “minimalist” work in fact deployed “underground” strategies, those of female (and male) impersonation. Camp performance, an approach that Rainer soon disavowed, allowedWord Wordsto explore gender in ways that were not possible by the time Rainer developedTrio A.Word Wordsdid not simply “overwrite” Rainer's (female) gender, as has been suggested alongside similar discussions ofTrio Aand gender, but destabilized the gender system's binaries: a deeply radical move, even in the context of other Judson performances using camp.

中文翻译：

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“极简主义”舞蹈，社会批判：重温 Yvonne Rainer 和 Steve Paxton 的 1963Word Words

在这篇文章中，我重新审视了 Yvonne Rainer 和 Steve Paxton 1963 年的舞蹈单词单词, 认为这部看似“极简主义”的作品实际上采用了“地下”策略，即女性（和男性）模仿的策略。营地表演，一种被雷纳很快否认的方法，允许单词单词以在 Rainer 发展时还不可能的方式探索性别三重奏A.单词单词并没有简单地“覆盖”雷纳的（女性）性别，正如在类似讨论中所建议的那样三重奏A和性别，但动摇了性别系统的二元：一个非常激进的举动，即使在其他使用坎普的贾德森表演的背景下。