The Epistemic and Aesthetic Delinking of Decolonial Theatre

Abstract: The article consists in crossing decolonial studies, history and aesthetics. I highlight how the Modernity/Coloniality dualism not only creates an epistemic hegemony but also an aesthetical domination, and I show the postmodern theater unability to untangle itself from the colonial roots of power. Through the analysis of Kay pacha - written by the equatorian activist and playwriter Juan Francisco Moreno Montenegro - I determine the defining features of a decolonial work. In doing so I carry out an epistemic and aesthetic. The kind of empirical approach stresses the european bias of the tools dramaturgical, which are useless to comprehend a decolonial piece of work.

摘要：本文立足于去殖民研究（decolonial studies）、历史学与美学的交叉研究视角。本文阐明，现代性/殖民性（Modernity/Coloniality）二元对立不仅催生了认知霸权（epistemic hegemony），更形成了美学支配（aesthetical domination）；同时证实后现代戏剧始终无法挣脱权力运作的殖民根基。通过对厄瓜多尔活动家、剧作家胡安·弗朗西斯科·莫雷诺·蒙特内格罗创作的戏剧《凯·帕查》（Kay Pacha）展开分析，本文确立了去殖民戏剧作品的核心特征。在此过程中，本文同步开展了认知与美学层面的研究。此类经验研究方法凸显了戏剧创作技法（dramaturgical）工具所带有的欧洲中心主义偏向，此类工具完全无法用于解读去殖民戏剧作品。