Reviewed by:

• Race and Performance After Repetition ed. by Soyica Diggs Colbert, Douglas A. Jones Jr. and Shane Vogel
• James McMaster

“Repetition is a God term in performance theory” (7). So say Soyica Diggs Colbert, Douglas A. Jones Jr., and Shane Vogel, the editors of Race and Performance after Repetition. Surveying the field’s most foundational theoretical frameworks—from Schechner on restored behavior to Schneider on reenactment, from [End Page 412] Derrida on iterability to Butler on performativity— these three performance scholars spend much of their introduction reminding readers of repetition’s hold on how we think about the volume’s titular categories. They lay bare “the field’s axiomatic notion that repetition is constitutive of the ontology of performance” (ibid.). But their aim in doing so is neither to double down on repetition nor to relegate repetition to the past such that some new God term might rise to prominence within racialized theatre and performance scholarship.

The editors pursue instead, as the volume’s title suggests, what comes “after” repetition. This “after” is not merely about “the supersession of something,” but also about that which follows “in the style of or in admiration of” something (15). The volume’s focus is on “performances whose temporal logistics operate beyond or adjacent to the dominant time signature of repetition, even when they still bear its influence” (ibid.). In this spirit, the volume’s introduction provides the field with alternative ways to grasp repetition, temporality, race, and performance. We are invited to consider insights from Gilles Deleuze, Amiri Baraka, Søren Kierkegaard, and Alice Rayner, the last of whom frames time as that which “puts attention on those things that matter most to care or concern” (5). This notion proves influential not just for the editors but among the book’s contributors as well. The result is a volume whose stated investment in racialized matters of time is inseparable from an understated investment in racialized matters of care. This, I argue, is what makes Race and Performance after Repetition so timely.

The body of the volume is separated into three sections. In the first, “Toggling Time: Metatheaters of Race,” Tavia Nyong’o, Catherine Young, and Patricia Herrera attend to temporality in three different works of contemporary Black Broadway and off-Broadway theatre. In the second, “Choreo-Chronographies,” the volume departs from the proscenium stage “in order to consider how gesture, dance, and movement can recalibrate the temporal narratives of racial subjection” (14). This section finds Tina Post turning to the archive for insight on blackness and boxing. It finds Jasmine Johnson writing on Black dance and mourning, Katherine Zien at the intersection of circus and cooking, and Elizabeth Son attending to anti-imperialist Korean diasporic performance. The final section of the volume, “Temporal (Im)mobilities: Dwelling Out of Time,” attends to what the editors call “the arrest of repetition” (14). Nicholas Fesette and Jisha Menon offer invaluable, anti-carceral approaches to performance studies scholarship; Mario Lamothe analyzes a photographic challenge to anti-homosexuality in Haiti; and Joshua Chambers-Letson meditates on Black (non)being as a sociogenic problem to be mitigated through performance in the present.

Readers may notice that the degree to which each of these contributions deals directly with the question of repetition varies. This, however, is less a weakness of the volume than it is a consequence of the way alternative racial-temporal concepts proliferate across it. Post, for example, in one of the collection’s strongest essays, uplifts the “utopic glitch” as a temporal category through which to understand how Joe Louis disrupted a system whose interpretive frames for Black performance could only toggle between a primitive past and a mechanical future (103). Herrera offers “the loop” as “a sonic-temporal strategy” through which the “poetic theater ensemble” universes summoned the radical energies of the Black Panther Party and the Young Lords Party in their musical Party People (71). Nyong’o, skillfully drawing on the psychoanalytic theorist Melanie Klein, theorizes “dark reparation” in relation to Brandon Jacobs-Jenkins’s An Octoroon in order...

审核人：

• 重复后的种族和表现编辑。作者：Soyica Diggs Colbert、Douglas A. Jones Jr. 和 Shane Vogel
• 詹姆斯麦克马斯特

“重复是表演理论中的上帝术语”（7）。Soyica Diggs Colbert、Douglas A. Jones Jr. 和 Shane Vogel 都是《Race and Performance after Repetition 》的编辑。调查该领域最基础的理论框架——从关于恢复行为的 Schechner 到关于重演的 Schneider，来自[End Page 412]德里达谈可迭代性，巴特勒谈表演——这三位表演学者在他们的引言中花费了大量时间来提醒读者，重复对我们如何看待该卷的名义类别的看法。他们揭示了“该领域的公理概念，即重复构成表演的本体论”（同上）。但他们这样做的目的既不是在重复上加倍努力，也不是将重复归于过去，这样一些新的上帝术语可能会在种族化的戏剧和表演学术中脱颖而出。

正如本书的标题所暗示的，编辑们追求的是“在”重复之后会发生什么。这个“之后”不仅是关于“某物的取代”，而且是关于“以某种方式或以某种方式钦佩”某物（15）。该卷的重点是“其时间逻辑在重复的主要时间特征之外或与之相邻的表演，即使它们仍然受到其影响”（同上）。本着这种精神，本书的引言为该领域提供了掌握重复、时间性、种族和表演的替代方法。我们被邀请考虑 Gilles Deleuze、Amiri Baraka、Søren Kierkegaard 和 Alice Rayner 的见解，他们中的最后一位将时间定义为“将注意力放在那些最需要关心或关心的事情上”（5）。事实证明，这个概念不仅对编辑有影响，而且对本书的贡献者也有影响。结果是一本书，其对种族化时间问题的明确投资与对种族化护理问题的低调投资密不可分。我认为，这就是使比赛和重复后的表现如此及时。

卷的主体分为三个部分。在第一部“切换时间：种族元剧院”中，Tavia Nyong'o、Catherine Young 和 Patricia Herrera 在当代黑色百老汇和非百老汇剧院的三部不同作品中关注时间性。在第二部分“Choreo-Chronographies”中，该卷离开了舞台舞台，“以考虑手势、舞蹈和动作如何重新校准种族服从的时间叙事”（14）。本节发现蒂娜·波斯特转向档案馆以获取有关黑度和拳击的见解。它发现贾斯敏·约翰逊（Jasmine Johnson）写的是黑人舞蹈和哀悼，凯瑟琳·齐恩（Katherine Zien）在马戏团和烹饪的交叉点上，而伊丽莎白·孙（Elizabeth Son）则参加反帝国主义的韩国侨民表演。卷的最后一部分，“时间（不动）流动性：居住在时间之外，”关注编辑们所说的“阻止重复”（14）。Nicholas Fesette 和 Jisha Menon 为绩效研究奖学金提供了宝贵的、反监禁的方法；Mario Lamothe 分析了海地反同性恋的摄影挑战；约书亚·钱伯斯-莱森 (Joshua Chambers-Letson) 将黑人（非）存在视为一个社会问题，可以通过当前的表现加以缓解。

读者可能会注意到，这些贡献中的每一个直接处理重复问题的程度各不相同。然而，这与其说是体积的弱点，不如说是替代种族-时间概念在其中扩散的结果。例如，在该系列最强的一篇文章中，帖子将“乌托邦故障”提升为一个时间类别，通过它可以了解乔·路易斯如何破坏一个系统，该系统对黑人表演的解释框架只能在原始过去和机械未来之间切换(103)。Herrera 提供“循环”作为“一种音时策略”，“诗意的剧院合奏”宇宙通过它在他们的音乐派对中召唤了黑豹党和青年领主党的激进能量(71)。Nyong'o 巧妙地借鉴了精神分析理论家 Melanie Klein，将与 Brandon Jacobs-Jenkins 的An Octoroon相关的“黑暗修复”理论化...