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Tytuł pozycji:

Understanding Anti-performance: The performative division of experience and the standpoint of the non-performer

Tytuł:
Understanding Anti-performance: The performative division of experience and the standpoint of the non-performer
Autorzy:
Joseph Grim Feinberg
Temat:
ontology
anti-theatricality
spectacle
augusto boal
rousseau
The performing arts. Show business
PN1560-1590
Philosophy (General)
B1-5802
Źródło:
Performance Philosophy, Vol 5, Iss 2, Pp 332-348 (2020)
Wydawca:
Performance Philosophy, 2020.
Rok publikacji:
2020
Kolekcja:
LCC:The performing arts. Show business
LCC:Philosophy (General)
Typ dokumentu:
article
Opis pliku:
electronic resource
Język:
English
ISSN:
2057-7176
Relacje:
https://www.performancephilosophy.org/journal/article/view/279; https://doaj.org/toc/2057-7176
DOI:
10.21476/PP.2020.52279
Dostęp URL:
https://doaj.org/article/9e85bff3bfce487ba8aabf8941adabea  Link otwiera się w nowym oknie
Numer akcesji:
edsdoj.9e85bff3bfce487ba8aabf8941adabea
Czasopismo naukowe
Performance theorists have long been drawn to the potential of performance to subvert established institutions. The results of performance are never fully determined in advance; performances subject established images to reinterpretation; they take place before an audience that can criticize and intervene. But performative principles also play a role in maintaining established institutions and ways of being. Performance demands that participants take on roles and perform them more or less effectively. Performance also establishes a separation between the relatively active people who have the authority to perform publicly important roles and relatively passive audiences who observe those institutionalized performances. In this paper I argue for a balanced view of the subversive potential of performance, taking seriously the tradition of anti-theatricality, in order to determine the role of performance both in undermining and in upholding established institutions, and I call attention to the potentially subversive (but often contradictory) role of what I call anti-performance, the attempt (which is just as contradictory as performance itself) to move beyond the performativity that is imposed by established institutions, in order to achieve new forms of being that are experienced not only as “played” but as “real.”

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