Performance is a public speech act that can present the experience of difference and generate relations across lines of difference. In personal narrative performance, performers do not just tell stories, the stories they tell are strategic hailings that call attention to discourses that produce the conditions of their exclusion and form intimate relations in public. Personal narrative performance renders the private public. Performers take to the stage, the space of the public, to offer their stories, their bodies, and their relations to audiences for collective consideration. In turn, the act of performance generates further relations: among performers and audiences, and between performance and discourse. This study analyzes these two layers of relation in performance through looking at the ways neoliberalism and performance interanimate one another. Through looking at three sites of neoliberal relationality--same-sex marriage, family, and immigration and multiculturalism, it asks questions of how performers narrate and represent non-normative experiences within neoliberalism, the historical and cultural context through which they are living and narrating. In order to understand the cultural work, the resistive and relational potential, of the relations that occur in and through personal narrative performance, we also need to understand the political, cultural, and historical conditions under which narratives in performance are produced. My argument is that in and through performance intimacy is queered: it takes the private--the stuff of the personal presented as aesthetic communication--and renders that private very public. In public and through relations, performance can raise awareness and shift consciousness, reify orders of relation or generate alternate imaginaries. This is to say that a lot of different types of work are done in performance, and although performance is often seen as resistance, under the weight of neoliberalism, it is important to tend to what arguments performances are making and how in turn that shapes the relations that occur in the site of performance. Queer intimacy offers a way of engaging performance, an analytic that considers the text of performance as well as the relational context among performers and audiences, and turns back on larger cultural questions of belonging. The potential of performance, of the concept of queer intimacy, provides a lens to read performance, to tend to the conditions that give rise to and inform performance in the current historical moment. It brings together the critical impulse of intercultural communication and cultural studies with performance studies. From a critical cultural perspective, it tends to the structural in performance, and through performance emphasizes the lived experience as narrated and embodied as and through communication. Coupled with the impulses of queer theory, queer intimacy offers both resisting normativity and imagining beyond it. To consider queer intimacy in performance is not only to recognize that relations are made possible, but to tend closely to the belongings we are making.

The purpose of my dissertation project is to understand how Same-Gender Loving (SGL) Black Christian men negotiate their sexuality and spirituality in spaces that are not always accepting of SGL people, by examining on how Black SGL men perform their sexual identities within hegemonic institutions that often deny their existence or outwardly seek to exclude them from their communities. I have identified three scripts that Black SGL men often follow within Black religious settings. The first script that SGL people often follow in the church is that of deliverance-- confessing their same-gender desires and maintaining that they have been delivered from those desires The second is "don't ask don't tell" performed by men who many believe and suspect of being SGL; so long as they do not publicly affirm these beliefs they are able to hold a variety of positions in their religious communities.. The last script involves accepting one's same-gender desires and also affirming one's Christian beliefs, proclaiming that the two are not at odds with one another. I examine how these scripts and/or others are performed by and on the bodies of Black SGL males in two distinct sites. The first is the career and music of former gospel star Anthony Charles Williams II (Tonex / B. Slade), who has utilized the three scripts at various times in his career. The next site is that of theatre, where I explore how these scripts have been employed in dramatic texts. By reading Christian Black SGL performance through its theological parameters, I aim to discern the avenues in which Black people in the United States are able to perform same-gender sexual identities in spaces that are constructed as "homophobic," and in so doing combat the narrative of hyper-homophobia in Black communities.