Abstract:

This article follows the structure of a pop song—verse, chorus, verse, chorus, bridge, chorus—to put into relationship scholarship on North American Indigenous theatre and performance, the current state of academia, the politics of Indigeneity, and critiques of recognition and inclusion from Indigenous Studies. Historicizing Indigenous theatre scholarship and production alongside Peter Morin and Jimmie Kilpatrick’s participatory karaoke performance, “Love Songs to End Colonization,” models disciplinary inclusion and how Indigenous performance challenges it. This essay turns to Glen Coulthard’s call for Indigenous resurgence and Dylan Robinson’s demonstration of disciplinary redress to explicate why Indigenous performance can be aesthetically and politically powerful. In singing these disparate ideas together, this essay considers the benefits and pitfalls of inclusion for Indigenous theatre into North American theatre production, scholarship, and higher education as well as issue a warning against complacent inclusion and mere celebrations of diversity. Indigenous performance asks more than theatre and performance studies often acknowledges; to engage with it robustly and productively, the field must be open to singing a song it is just beginning to learn.

摘要：

本文遵循一首流行歌曲的结构——主歌、副歌、主歌、副歌、桥段、副歌——将北美原住民戏剧和表演、学术界现状、原住民政治和承认批评等问题纳入学术研究的关系中。以及土著研究的纳入。彼得·莫林（Peter Morin）和吉米·基尔帕特里克（Jimmie Kilpatrick）的参与式卡拉 OK 表演“结束殖民化的情歌”将土著戏剧奖学金和制作历史化，模拟了学科包容性以及土著表演如何挑战它。本文转向格伦·库特哈德 (Glen Coulthard) 对原住民复兴的呼吁和迪伦·罗宾逊 (Dylan Robinson) 的纪律纠正示范，以解释为什么原住民表演在美学和政治上都具有强大的力量。在共同表达这些不同的想法时，本文考虑了将土著戏剧纳入北美戏剧制作、学术和高等教育的好处和陷阱，并对自满的包容和仅仅庆祝多样性发出警告。本土表演的要求超出了戏剧和表演研究通常承认的范围；为了强有力地、富有成效地参与其中，这个领域必须开放，愿意唱一首刚刚开始学习的歌曲。