期刊名称：Liminalities : a Journal of Performance Studies
电子版ISSN：1557-2935
出版年度：2012
卷号：8
期号：3
出版社：Liminalities
摘要：David Hoyle is a post-drag performance artist and avant-garde anti-hero of the UK’s LGBTQ club-cabaret scene. In this writing I will be paying particular attention to his publically engaged film work, created in collaboration with writer and director Nathan Evans. Before discussing two moments from these films in detail, it is necessary to give a clear definition of the metaphorical term ‘car-crash’ and provide a brief outline of his wider practice. The term ‘car-crash’ encapsulates the relevance of this writing to the concept of accidents, and is central to my discussion of the socio-political efficacy of Hoyle’s occasional recklessness. It is often used in journalistic and academic descriptions of his performances, referring both to his appearance, described by Dominic Johnson as a “maquillage car-crash,”1 and his words and actions, described by Nancy Durrant in The Times as “car crash, rage-fuelled, issue-based comedy”.2 Durrant, going some way to defining her own use of the term, concludes that even “when it goes horribly wrong, which it occasionally does, it's always horribly funny.”3 Here the term car-crash is used in a manner similar to phrases such as ‘train-wreck’, referring to collisions and violent mishaps that unwittingly encourage spectators to gather in order to gawp, gaze and guiltily enjoy. For the sake of clarity, I have listed below the four most important references in my own use of the term:
