This paper centres on the definition of failure in a theatrical work. Failure is pursued as an epitome for possibilities, thus shifting the boundaries of theatrical work outside of conventional lines of understanding. The notion is to remove the fear of failure within a work, in order to explore new means through which a work can be produced. In this article, myself, the researcher, and my supervisor discuss the failures within my theatrical work, in order to re-imagine new possibilities in which the work can occur. Failure is seen as an opportunity, to not only draw on what it is that failed within a work, but to also build on that which has worked. The work itself centres on failure. It is thus a case where form and content mirror the possibilities through which an artwork can be reproduced. The article refers to notions of queerness when referring to failure. This queerness is also situated within the theories of Walter Benjamin. Failure becomes a historical construct, and becomes the key means through which to constantly reproduce the postcolonial effect. Here, the postcolonial refers to the failure of Colonialism, as well as the failure in progressing the self forward after breaking the actions put forth by Colonialism. The objective of this article is to move postcolonial texts forwards, to learn from the failures committed, and to reproduce postcolonialism as a transformative entity.

中文翻译：

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构建耐心：后殖民戏剧作为救赎的可能性

本文主要讨论戏剧作品中失败的定义。失败被视为可能性的缩影，从而将戏剧作品的界限转移到传统的理解范围之外。其理念是消除对作品失败的恐惧，以探索制作作品的新方法。在这篇文章中，我自己、研究人员和我的导师讨论了我戏剧工作中的失败，以重新想象工作可能发生的新可能性。失败被视为一个机会，不仅可以借鉴作品中失败的部分，而且可以在已经成功的部分上继续发展。工作本身以失败为中心。因此，形式和内容反映了艺术作品被复制的可能性。这篇文章在提到失败时提到了酷儿的概念。这种古怪也存在于沃尔特·本杰明的理论中。失败成为一种历史建构，成为不断再现后殖民影响的关键手段。在这里，后殖民指的是殖民主义的失败，以及在打破殖民主义的行动后，自我前进的失败。本文的目的是推动后殖民文本向前发展，从所犯的失败中吸取教训，并将后殖民主义再现为一个变革性的实体。后殖民是指殖民主义的失败，以及在打破殖民主义的行为后，自我前进的失败。本文的目的是推动后殖民文本向前发展，从所犯的失败中吸取教训，并将后殖民主义再现为一个变革性的实体。后殖民是指殖民主义的失败，以及在打破殖民主义的行为后，自我前进的失败。本文的目的是推动后殖民文本向前发展，从所犯的失败中吸取教训，并将后殖民主义再现为一个变革性的实体。