...THE FINAL ABSTRACT...!!!...
ABSTRACT
Le Petit Mort is a live solo performance and expositional materials exploring notions of the highly contested concept of ‘presence’ in performance including absence and memory.
It is the aspect of memory (and its possible re-constitution) in the explicit presence of the performer that might imply absences to be signified to others. This something that is absent, invisible or unseen is what performance can make apparent, seen, visible or present.
An extensive array of literature (and professional performance practice) explores ‘liveness’ – its force of life – in the phenomenon of ‘presence’. Beginning with the work of French artist Antonin Artaud as a departure point, my own 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, psychoanalysts Sigmund Freud, Jacques Lacan et al, performance theorists Peggy Phelan, Bert O States and practicing artists Maria Abramovic, Romeo Castelluci and Forced Entertainment.
A live performer literally is 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 in the reciprocal gaze between performer and an-other. Thus, performance is a kind of ‘death’.
In the context of a repressive, futile quest for immortality by the seductive words and pervasive images permeating landscapes of a post-human-9/11 technological age, this is a death that contemporary culture fears. The power of live performance is marginalized where time is frozen in the uniformity of the image. The live performing body in Le Petit Mort presents the necessity of mortal actions at play, performing in the moment-here-now as a doing-speaking being against this uniformity.
Le Petit Mort is a live solo performance and expositional materials exploring notions of the highly contested concept of ‘presence’ in performance including absence and memory.
It is the aspect of memory (and its possible re-constitution) in the explicit presence of the performer that might imply absences to be signified to others. This something that is absent, invisible or unseen is what performance can make apparent, seen, visible or present.
An extensive array of literature (and professional performance practice) explores ‘liveness’ – its force of life – in the phenomenon of ‘presence’. Beginning with the work of French artist Antonin Artaud as a departure point, my own 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, psychoanalysts Sigmund Freud, Jacques Lacan et al, performance theorists Peggy Phelan, Bert O States and practicing artists Maria Abramovic, Romeo Castelluci and Forced Entertainment.
A live performer literally is 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 in the reciprocal gaze between performer and an-other. Thus, performance is a kind of ‘death’.
In the context of a repressive, futile quest for immortality by the seductive words and pervasive images permeating landscapes of a post-human-9/11 technological age, this is a death that contemporary culture fears. The power of live performance is marginalized where time is frozen in the uniformity of the image. The live performing body in Le Petit Mort presents the necessity of mortal actions at play, performing in the moment-here-now as a doing-speaking being against this uniformity.
posted by ROARAWAR FEARTATA & PoPoCCCCaTePeTL at 9:00 PM
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