Abstract:

This essay delves into the materialities of infection through an exploration of two dance/theatre works created by Congolese theatre artist and choreographer Faustin Linyekula and his company Studios Kabako: Dinozord: The Dialogue Series IIII (2006) and In Search of Dinozord (2012). The Dinozord series serves as a multifaceted homage to Linyekula's childhood friend and fellow artist Richard Kabako, an actor and writer who died from bubonic plague in 1994 as he sought to flee what was then called Zaire. Yersinia pestis, the bacteria that causes bubonic plague, is not explicitly named and yet its presence reverberates through the two performance texts. I borrow from the vocabularies of infectiology and epidemiology to analyze Linyekula's aesthetic and political strategies; specifically, I use the terms replication, secretion, and comorbidity to theorize how Dinozord indexes the insidiousness of slow and structural violence. Similar to how y. pestis saturates the human host's lymph nodes and bodily tissues, everyday violence infects the Dinozord stage. The essay also argues for an expansion of performance theory to account for the embeddedness of chronic, protracted ruination and damage alongside the spectacularity of direct, immediate violence.

摘要：

本文通过对刚果剧院艺术家和编舞家Faustin Linyekula及其公司Studios Kabako：Dinozord：The Dialogue Series IIII（2006）和In Search of Dinozord（2012）创作的两部舞蹈/戏剧作品的探究来探讨感染的实质。该Dinozord系列作为一个多方面的敬意Linyekula的童年朋友和同事艺术家理查德Kabako，演员和作家谁从鼠疫在1994年去世，他试图逃离当时所谓扎伊尔。鼠疫耶尔森菌引起布氏鼠疫的细菌没有明确命名，但它的存在会在两个表演文本中回荡。我借用传染病学和流行病学的词汇来分析Linyekula的美学和政治策略。具体来说，我使用复制，分泌和合并症这两个术语来理论化Dinozord如何索引缓慢和结构性暴力的隐患。类似于y。鼠疫会使人宿主的淋巴结和身体组织饱和，日常暴力会感染狄诺索德犬阶段。这篇文章还主张扩展绩效理论，以解释长期，长期的破坏和破坏的内在性，以及直接，立即的暴力的壮观性。