Faggot*s

FAGGOT*S is the first aut­ho­ri­zed thea­tri­cal adapt­a­ti­on of Lar­ry Mit­chell and Ned Asta’s cele­bra­ted mani­festo The Fag­gots and Their Fri­ends Bet­ween Revo­lu­ti­ons (1977). The co-crea­tors of the per­for­mance, Hadri­en Dai­gne­ault-Roy and Sascha Cowan, explo­re this fairy tale as a vehic­le for trans­mit­ting under­ground and com­mu­ni­ty-based know­ledge. Sto­ries pas­sed on in secret. Sto­ries that are per­for­med and re-enac­ted. Sto­ries that move through our bodies, from gene­ra­ti­on to generation.

In this solo-per­for­mance, drag artist Hassan­dra explo­res the rami­fi­ca­ti­ons of cyborg fag­go­tries in the era of arti­fi­ci­al intelligence.Using a vocal mask tech­no­lo­gy deve­lo­ped by expe­ri­men­tal com­po­ser Luke Nickel, the per­for­mer tre­ats voice modi­fi­ca­ti­on like make­up. Sen­sors link each facial expres­si­on to a sound, a tone, a voice. Pushing the boun­da­ries of drag, this vocal mask enables a real-time cas­ca­de of identities—layering, col­li­ding, and dis­sol­ving into one ano­ther. Queens, fai­ries, and fag­gots make their voices reso­na­te like an ear­worm, intert­wi­ning and con­tra­dic­ting each other, to reve­al the hid­den com­mu­ni­ty of Pan­sy Path. This magi­cal street exists bey­ond time and trends, some­whe­re bet­ween the vibrant New York of the Stone­wall riots and the dark depths of Berlin’s dark­rooms. This street, both real and fic­tion­al, is the mee­ting point of all libe­ra­ted spaces—a place whe­re the laws of men no lon­ger app­ly, and whe­re small colorful uto­pi­as emer­ge in the heart of greyness.

Inter­di­sci­pli­na­ry and radi­cal, FAGGOT*S explo­res the poten­ti­al of a que­er body that ful­ly embraces syn­the­tic, arti­fi­ci­al, and tech­no­lo­gi­cal means to appear and dis­ap­pear at will. Ever­y­thing is fake. Ever­y­thing is real.