In the last decade, disability has come to be regarded as a new aesthetic value (Siebers 2010), a representative view often relying on visible difference to construct disability as an identity category, overlooking performers for whom chronic illness creates invisible disability. Despite advances in inclusive practice, the liminality of chronic illness through unpredictable and fluctuating influence on energy levels and chrononormative markers means that these invisibly disabled performers can be marginalised from performance training, often described as intensives. Additionally, energy-limiting conditions challenge conventional performance-making practices and contest traditional concepts of virtuosity, focusing instead on the production of meaning rather than physical accomplishment. This article explores my PhD performance practice, during which I embarked on independent somatic practice to investigate perceptions of the invisibly disabled body in performance. This was a period of unlearning previous codified dance training, moving away from unrealistic bodily regimens to listen to the tacit expertise of my chronically ill body, and develop performance practice shaped by the unique needs and restrictions of ME. With the role of the invisibly disabled performer still an emerging area of research, performers like me must develop unique forms of training and practice attuned to their diverse sensory modalities. While this process fosters greater embodied understanding through the constant somatic work required to monitor chronic illness, it also raises questions as to whether this form of training is necessarily independent, and how mainstream training routes might be more accommodating for those whose embodied temporal restrictions can otherwise be excluding.

在过去的十年中，残疾已被视为一种新的审美价值（Siebers 2010)，一种代表性的观点，往往依靠可见的差异来构建残疾作为一个身份类别，忽视了慢性病为他们带来了隐形残疾的表演者。尽管在包容性实践方面取得了进步，但慢性病的临界点是通过对能量水平和时间标记的不可预测和波动的影响，这意味着这些隐形残疾的表演者可以从表演训练中被边缘化，通常被描述为强化训练。此外，能量限制条件挑战传统的表演实践并挑战传统的精湛概念，而是专注于意义的产生而不是身体成就。这篇文章探讨了我的博士表现实践，在此期间，我开始进行独立的躯体练习，以研究对表演中隐形残疾身体的看法。这是一段忘却以前编纂的舞蹈训练的时期，摆脱不切实际的身体疗法，聆听我长期患病身体的默契专业知识，并根据 ME 的独特需求和限制发展表演实践。由于隐形残疾表演者的角色仍然是一个新兴的研究领域，像我这样的表演者必须开发独特的训练和实践形式，以适应他们多样化的感官方式。虽然这个过程通过监测慢性病所需的持续身体工作促进了更深入的理解，但它也提出了这样的问题，即这种形式的培训是否一定是独立的，