This article explores the 2017 performance of Harrison David Rivers's play, And She Would Stand Like This, and its dramatization of the intersectional marginalization and discrimination endured by a queer family of colour facing AIDS, through the framework of Euripides’ Trojan Women. It does so via three main perspectives: chosen family, normative discriminations and tragic disidentifications. In its changes to the tragic plot, the play reflects on AIDS, exploring criminal infection; hetero-/homosexual, genetic and communitarian HIV transmission; and bereavement. It critiques the offstage intersectional systems of oppression and shifts the status of the community from victimhood to survival, and from the representational periphery to the cultural centre. And She Would Stand Like This appears as a queer communal ritual of poetic empowerment with/through which to pay homage to queer forebears of colour, to celebrate queer lives of colour now and to galvanize those who are to walk a queer futurity of power and liberation.

中文翻译：

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赫库巴之家：悲剧/酷儿对肤色的不认同和艾滋病的围攻


本文探讨了哈里森·大卫·里弗斯 （Harrison David Rivers） 的戏剧《她会像这样站着》（And She Would Stand Like This） 2017 年的演出，以及它通过欧里庇得斯的《特洛伊木马女人》的框架，将一个有色人种酷儿家庭面对艾滋病所遭受的交叉边缘化和歧视戏剧化。它通过三个主要视角来做到这一点：被选择的家庭、规范性的歧视和悲剧性的去认同。在对悲剧情节的改变中，该剧反思了艾滋病，探讨了犯罪感染;异性恋/同性恋、遗传和社区主义 HIV 传播;和丧亲之痛。它批判了台下的压迫交叉系统，并将社区的地位从受害者转变为生存者，从代表性的边缘转变为文化中心。She Would Stand Like This 似乎是一种诗意赋权的酷儿公共仪式，通过它向有色人种的酷儿祖先致敬，庆祝现在有色人种的酷儿生活，并激励那些即将走上权力和解放的酷儿未来的人。