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Le Petit Mort is a live solo performance and expositional materials exploring notions of the highly contested concept of presence including absence and memory in performance.
An extensive array of literature (and professional practice) explores “liveness” – its force of life in the phenomenon of “presence”.Beginning with the work of the French artist Antonin Artaud as a point of departure, the research attempts to trace a line of thought (whilst inventing a performance practice and outcome) traversing many theoretical frameworks including Marquis de Sade, Friedrich Nietzsche, Jean Baudrillard, Slavoj Zizek, Paul Virilo, psycho-analysis in Sigmund Freud, Jacques Lacan et al, performance theorists Peggy Phelan, Bert O. States and practicing artists Maria Abramovic, Romeo Castelluci and Forced Entertainment.
It is the aspect of memory (its possible re-constitution) in the explicit presence of the performer which might imply absences to be signified to others. This something which is absent, invisible or unseen is what performance can make apparent, seen, visible or present.
A live performer is literally dying before us, due to performance’s essentially ephemeral nature in the passage of time passing. In this presence of being-there, present, an audience might experience an awareness of their own mortality; thus performance is a death.
This death contemporary culture fears in a futile quest for immortality by the seductive words and pervasive images permeating landscapes of a post-human-9/11 age. Time frozen in uniformity of the image marginalizes the sacred power of live performance.
An extensive array of literature (and professional practice) explores “liveness” – its force of life in the phenomenon of “presence”.Beginning with the work of the French artist Antonin Artaud as a point of departure, the research attempts to trace a line of thought (whilst inventing a performance practice and outcome) traversing many theoretical frameworks including Marquis de Sade, Friedrich Nietzsche, Jean Baudrillard, Slavoj Zizek, Paul Virilo, psycho-analysis in Sigmund Freud, Jacques Lacan et al, performance theorists Peggy Phelan, Bert O. States and practicing artists Maria Abramovic, Romeo Castelluci and Forced Entertainment.
It is the aspect of memory (its possible re-constitution) in the explicit presence of the performer which might imply absences to be signified to others. This something which is absent, invisible or unseen is what performance can make apparent, seen, visible or present.
A live performer is literally dying before us, due to performance’s essentially ephemeral nature in the passage of time passing. In this presence of being-there, present, an audience might experience an awareness of their own mortality; thus performance is a death.
This death contemporary culture fears in a futile quest for immortality by the seductive words and pervasive images permeating landscapes of a post-human-9/11 age. Time frozen in uniformity of the image marginalizes the sacred power of live performance.
posted by ROARAWAR FEARTATA & PoPoCCCCaTePeTL at 4:47 AM
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