4 - Translationality and the Decolonial Gesture in Performance

Summary

Chapter 4 continues the previous chapter’s translational approach to the performing body, exploring the potential and limitations of what Walter Mignolo terms the “decolonial gesture” through three award-winning Argentinian productions. Building upon contemporary theories of coloniality, the chapter examines the performers’ and their audience’s linked participation as site for considering how the translational might effectively engage onstage with the “other.” In Timbre 4’s Dínamo (Dynamo), the decolonial gesture is initiated in a performer’s own dramaturgy of nontranslation, which not only impedes linguistic communication but also triggers audience critical self-awareness. In Guillermo Cacace’s production of Mi hijo sólo camina un poco más lento (My Son Only Walks a Bit Slower), a Spanish-language production of a Croatian play, the decolonial gesture resides in the director’s translational reconfiguration of actor-spectator empathy and seemingly contradictory approaches to casting disability. In the chapter’s final case, Sudado (Sweaty/Stew), a collectively devised production, decolonial gesturality is complicated at multiple translational levels through the translocation of the Peruvian immigrant to the Buenos Aires stage. The chapter argues that theatre can offer opportunities for decolonization, but only if they emerge from within theatre’s assembled collective, which translationally determines the creation, construction, communication, and reception of the decolonial gesture.