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ISSUE 36 : Be Queer, Be Positive
Performativity of Social Movement and Activeness of Performance
March 22nd, 2018Type: Performance
Author: 林乃文 Editor: Rikey Tenn
Note: Director TIAN Chi-Yuan was faced with discrimination in the health-care system after being reluctantly outed as HIV positive in the late 1980s. Since then, until his departure from life in 1996, he had been persistently devoted to theaters. His story is mirrored by the one of Paddy Chew, Singapore's first openly HIV-positive, and the two alike reflected body to be an obscure realm where personal moral values are tangling with social order, while performativity as its methodology to reveal the inescapable national governance. The difference between the two lies in that TIAN's theater rose to poignantly challenged the patriarchy rather than delivered a self-proclamation. The author employs "performativity" as the writing strategy and analyzes TIAN's encounter with CHI Chia-wei in the 1980s' theater. Even though CHI's individualism has remained controversial, this chapter of the history, in which activism and queer theatre were once closely connected, has proclaimed the distinctiveness of this society despite the gaze of the Western "queer" aesthetics in an globall context.
田啟元 (翻拍自網路照)
HOPE希望特刊: 田啓元專刊, 中華民國預防醫學學會, 希望工作坊發行; 1997年冬季號 (權促會提供)
田啓元, 毛屍 (1988年09月29日); image courtesy of 臨界點劇象錄