In a neoliberal multicultural landscape, minoritarian artists tend to, deploying various forms of self-media or virtual platforms, create their artistic spaces for their identitarian performances. While self-media has been more and more entrepreneurially dominant, the aura of theatrical performance of the self seems to be now obsolete. Moreover, in view of neoliberalism as an increasing hegemony that has insidiously marginalized theaters of minoritarian performances (such as the New WORLD theater) in the past decade in the U.S., “minoritarian subjects” (to borrow José Esteban Muñoz’s term) are experiencing a predicament in which they are becoming more and more visually contingent owing to the neoliberal representational violence. With an urge of reviving such distant aura, this paper revisits the solo performances of Denise Uyehara and Dan Kwong staged in the Highway Performance Space, a generative site of what Meiling Cheng calls the “heterolocus”. By exploring auto-performance as a minoritarian genre, the paper examines what Diana Taylor calls the “embodied memories” in the works of Uyehara and Kwong, and further argues that these performances should not be simply understood as an individual aesthetic and political expression, but also be rendered as a powerful epistemological repertoire to perform cultural politics for the communal Asian American theater.

中文翻译：

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重访新自由主义中的少数派剧场：丹妮丝·尤耶哈拉和邝丹的自动表演中的具身记忆

在新自由主义的多元文化景观中，少数派艺术家倾向于通过各种形式的自媒体或虚拟平台，为他们的身份主义表演创造他们的艺术空间。虽然自媒体在创业上越来越占主导地位，但自我戏剧表演的光环似乎已经过时了。此外，鉴于新自由主义作为一种日益增长的霸权，在过去十年中悄悄地边缘化了美国少数族裔表演的剧院（例如新世界剧院），“少数族裔主体”（借用何塞·埃斯特班·穆尼奥斯的术语）正在经历困境由于新自由主义的代表性暴力，它们在视觉上变得越来越随机。怀着恢复如此遥远的气息的冲动，本文重温了Denise Uyehara 和Dan Kwong 在公路表演空间上演的独奏表演，这是郑美玲所谓的“异类”的生成场所。通过将汽车表演作为一种少数派类型进行探索，本文考察了戴安娜·泰勒（Diana Taylor）所称的Uyehara和Kwong作品中的“具身记忆”，并进一步认为这些表演不应简单地理解为个人审美和政治表达，而是也被呈现为强大的认识论剧目，为公共亚裔美国剧院表演文化政治。