Theatricality and Performativity: Writings on Texture from Plato's Cave to Urban Activism (2018)

THEATRICALITY AND PERFORMATIVITY WRITINGS ON TEXTURE FROM PLATO’S CAVE TO URBAN ACTIVISM Teemu Paavolainen Performance Philosophy Series Editors Laura Cull Ó Maoilearca University of Surrey Guildford, UK Alice Lagaay Hamburg University of Applied Sciences Hamburg, Germany Will Daddario Independent Scholar Asheville, NC, USA Teemu Paavolainen Theatricality and Performativity Writings on Texture from Plato’s Cave to Urban Activism Teemu Paavolainen University of Tampere Tampere, Finland Performance Philosophy ISBN 978-3-319-73225-1 ISBN 978-3-319-73226-8 https://doi.org/10.1007/978-3-319-73226-8 (eBook) Library of Congress Control Number: 2018931895 © The Editor(s) (if applicable) and The Author(s) 2018 This work is subject to copyright. 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Cover illustration: H Lansdown / Alamy Stock Photo Printed on acid-free paper This Palgrave Macmillan imprint is published by Springer Nature The registered company is Springer International Publishing AG The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland CONTENTS Thread 1 Introduction: Theatrical Metaphors, Textile Philosophies 1 Thread 2 Emptiness and Excess: The Cave, the Colonnade, and the Cube 47 Thread 3 Directorial Perspectives: The Image, the Platform, the Tightrope 91 Thread 4 “Revolving It All”: Weaves of Memory in Amadeus and Footfalls 129 Thread 5 Smart Homes and Dwelling Machines: On Function, Ornament, and Cognition 169 Thread 6 Protest in Colour and Concrete: Theatrical Textures in the Urban Fabric 211 Thread 7 Knots and Loose Ends: Metaphors of Range, Cycles of Change 253 Index 277 ix LIST OF FIGURES Fig. 1.1 Fig. 1.2 Fig. 2.1 Fig. 4.1 Fig. 4.2 Fig. 5.1 Fig. 6.1 Four models of dramaturgy and scenography: Chain and braid are inspired by Richard Schechner; space and event, by Willmar Sauter and Tim Ingold Theatricality and performativity as abstraction and absorption: Tim Ingold’s ‘network’ of connected points and ‘meshwork’ of interwoven lines, exempliied by the globe (with geographical coordinates) and the spider’s web Allegories of theatrical unease: (a) Plato’s cave; (b) Bernini’s colonnade; (c) Borromini’s corridor; (d) Fried’s war of sensibilities. The black triangles stand for spectators and visitors The character network of Peter Shaffer’s Amadeus The warp and weft (vertical/horizontal) of Samuel Beckett’s Footfalls (a) Mrs Frederick’s step-saving method for kitchen eficiency; (b) networks of choice; (c) Le Corbusier, the Villa Savoye; (d) Home™ according to Apple The ‘urban fabric’ in (a) Tampere and (b) Wrocław; (c) The Sisyphers: sculpture by Tomasz Moczek, 2005, on ulica Świdnicka, Wrocław (arrow in b); (d) Loldiers of Odin, 16 January 2016, on Hämeenkatu, Tampere (arrow in a) 18 26 53 135 136 171 215 xi LIST OF TABLES Table 1.1 Table 1.2 Table 3.1 Table 5.1 Table 7.1 Table 7.2 The binary fourfold: Normative and creative values of performativity and theatricality Stephen C. Pepper’s world hypotheses (1942) and their ‘root metaphors’ Image, platform, and tightrope models of directorial theatricality Occupation and inhabitation as modes of dwelling Glossing texture: A glossary of recurrent themes The perspectival fourfold: A summary of concepts and case studies 5 14 113 192 257 259 xiii Metadata of the chapter that will be visualized online Chapter Title Copyright Year Copyright Holder Corresponding Author Introduction: Theatrical Metaphors, Textile Philosophies 2018 The Author(s) Preix Dr. Family Name Paavolainen Particle Given Name Teemu Sufix Division Organization/University Abstract University of Tampere Address Tampere, Finland The introductory chapter outlines theatricality and performativity by way of their tensions and paradoxes—between seeing and doing, novelty and normativity—and argues for a more perspectival approach with notions of ‘texture,’ derived from anthropologist Tim Ingold and philosopher Stephen Pepper. After a section on ‘metaphor,’ those of texture and weaving are further elaborated in three extensive segments, beginning from their prior usage in dramaturgy (Eugenio Barba) and philosophy (feminism, Pepper, ecology). The third and most important section introduces Ingold’s meshwork as a key igure of plural performative becoming: the interweaving of lines, as opposed to the network as a key igure of theatrical detachment or abstraction—the connecting of points or objects into which the meshwork is simpliied when we optically ‘zoom out’ from its haptic engagement. In the end, the ensuing chapters are introduced, themselves addressed as speciic ‘threads’ within the book’s overall texture. Metadata of the chapter that will be visualized online Chapter Title Copyright Year Copyright Holder Corresponding Author Emptiness and Excess: The Cave, the Colonnade, and the Cube 2018 The Author(s) Preix Dr. Family Name Paavolainen Particle Given Name Teemu Sufix Division Organization/University Abstract University of Tampere Address Tampere, Finland Thread 2 addresses the antitheatrical tradition through the emblematic Cave, Colonnade, and Cube of Platonic parable, Baroque architecture, and minimalist sculpture. As textbook cases of ‘antitheatrical prejudice’—of theatricality as a term of contempt—it is argued that all three exhibit an empirical and aspectual quality of theatricality, in which their historical opponents have perceived a distinct threat to performed norms of mimesis, measure, and modernism. If the theatricality that Plato attacks is one of ontological emptiness, then that of the Baroque is one of lamboyant gestural excess, exempliied by Bernini’s Colonnade in St Peter’s Square. Conversely, when the modernist art critic Michael Fried attacks the ‘theatricality’ of sculptural ‘literalism,’ it is to defend just the sort of caved absorption that Plato arguably opposed. Through its related dramaturgies of escape, from Plato’s Cave to Performance Studies, the antitheatrical prejudice is here presented as a speciically antitextural one. Metadata of the chapter that will be visualized online Chapter Title Copyright Year Copyright Holder Corresponding Author Directorial Perspectives: The Image, the Platform, the Tightrope 2018 The Author(s) Preix Dr. Family Name Paavolainen Particle Given Name Teemu Sufix Division Organization/University Abstract University of Tampere Address Tampere, Finland Thread 3 assumes the pro-theatrical perspective of the modernist theatre director. As perhaps the default connotation of theatricality within the theatre, the ‘theatricalism’ of the avant-gardes is dissected into three fairly distinct models of directorial theatricality: the Image—deep or shallow, as for Richard Wagner and Georg Fuchs; the Platform—of skill or tension, as for Vsevolod Meyerhold and Bertolt Brecht; and the Tightrope—this is Peter Brook’s metaphor for a kind of theatrical immediacy that navigates between the ‘holy’ and ‘rough’ aspirations of the other two models. What marks each of the three models as speciically theatrical is how the very density or sparsity of their textures ostensibly deviates from some historically speciic performative norm—be it operatic convention, stage naturalism, capitalist society, or literary or ‘deadly’ theatre. By length the chapter focuses on Brook most extensively, not only as a perceptive commentator, but also as someone harshly ridiculed for his theatricalist essentialism. Metadata of the chapter that will be visualized online Chapter Title Copyright Year Copyright Holder Corresponding Author “Revolving It All”: Weaves of Memory in Amadeus and Footfalls 2018 The Author(s) Preix Dr. Family Name Paavolainen Particle Given Name Teemu Sufix Division Organization/University Abstract University of Tampere Address Tampere, Finland The only chapter to engage with speciic plays or performances at any length, Thread 4 zooms in on the ine textures of dramaturgy in performance, on the unlikely coupling of Samuel Beckett’s Footfalls (1976) and Peter Shaffer’s Amadeus (1979). Formally akin in staging a monological but widely textured weaving of memory, the two exemplify not only the theatrical tendencies to emptiness and excess, but also the dynamics of performativity, both aesthetically (Beckettian repetition) and thematically (novelty and normativity in the guise of genius and mediocrity). Apart from the texts themselves, the chapter addresses some habitual patterns of criticism—often dismissing Shaffer’s theatricality while embracing Beckett’s—and such staples of the theatrical as witnessing, narration, and the play within the play. The theoretical argument is for an easy intertwining between the there of performative absorption and the aside of theatrical distance: the irst person and the third, the memory and the monologue. Metadata of the chapter that will be visualized online Chapter Title Copyright Year Copyright Holder Corresponding Author Smart Homes and Dwelling Machines: On Function, Ornament, and Cognition 2018 The Author(s) Preix Dr. Family Name Paavolainen Particle Given Name Teemu Sufix Division Organization/University Abstract University of Tampere Address Tampere, Finland Thread 5 addresses domestic design and technology, from the dwelling machines of modernist functionalism to the smart homes of the present, as exempliied by Le Corbusier’s Villa Savoye (1931) and Apple’s Home application (2016). In this technological and architectonic domain, the performative staples of eficiency, eficacy, and effectiveness are traced in projects of functional transparency, from the Corbusian ‘machine for living in’ to the ‘ubiquitous’ but more invisible technologies of late. Conversely, the theatrical resides in the dramatic, the aesthetic, the sensuous: in synoptic networks that help control and understand the technological meshwork, but also enable a distinctly antitechnological variant of the good old antitheatrical prejudice—beginning from the modernist distrust of ‘ornament’ in Le Corbusier’s time. The chapter concludes on ‘ecological’ notions of extended and enactive cognition that not only bear some afinity with theatricality and performativity, but also neatly deine ‘textures of thought’ in which dwellings and inhabitants are equally interwoven. Metadata of the chapter that will be visualized online Chapter Title Copyright Year Copyright Holder Corresponding Author Protest in Colour and Concrete: Theatrical Textures in the Urban Fabric 2018 The Author(s) Preix Dr. Family Name Paavolainen Particle Given Name Teemu Sufix Division Organization/University Abstract University of Tampere Address Tampere, Finland Thread 6 discusses instances of artistic activism in which the often grey concrete of the ‘urban fabric’ is overlown with its carnivalesque countertextures: the Orange Alternative of the Polish 1980s; rainbow symbolism; the ‘knit grafiti’ of contemporary ‘craftivists’; and an antifascist clown patrol in Tampere, Finland. A staple in the performativity literature, the particular theatricality of political protest is located in more ephemeral qualities of surface texture and the abundance of colour speciically—deemed empty or excessive like theatricality itself; adding to urban texture rather than fading into its fabric. Zooming out to a more evolutionary time frame of more-thanhuman performativity (in accordance with the often organistic metaphors of artistic activism), the discussion helps imagine a more permissive politics of textural porosity and thus also of diversity—predicated not on antagonistic tropes of transgressive opposition, but on saturating the world, perhaps with the merest hues of textures to be. Metadata of the chapter that will be visualized online Chapter Title Copyright Year Copyright Holder Corresponding Author Knots and Loose Ends: Metaphors of Range, Cycles of Change 2018 The Author(s) Preix Dr. Family Name Paavolainen Particle Given Name Teemu Sufix Division Organization/University Abstract University of Tampere Address Tampere, Finland Thread 7 revisits not only the various case studies, but also some central themes, igures, and tables from Thread 1: dramaturgy, contextualism, Pepper’s four world hypotheses. The ‘binary fourfold’ of theatricality and performativity is developed into a more ‘perspectival’ one, relativizing some of the key tensions and paradoxes proposed. An approach is outlined in which performativity names the way we tacitly weave worlds and identities, variously concealed or clariied by the step-aside tactics of theatricality. If the paradox of performativity consists in its naming the eventness of apparent objects and essences while simultaneously dissimulating it, then that of theatricality consists in rendering this eventness perceptible precisely by reducing it to manageable objects. To enlist the two terms in a general philosophy of action and perception—true to their etymologies of doing and seeing—if the performative names a dramaturgy of becoming, then the theatrical provides an optic for its analysis. INDEX1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 A Absorption, 7, 26, 51, 77, 148, 152, 190, 261, 271 Beckett, 146 Fried, 66–69, 76–79, 93 Fuchs, 104 Ingold, 26, 27, 237, 239 Plato, 54, 55, 72 Wagner, 95, 98, 114, 116 See also under Performativity; Theatricality Acting, 99, 100, 102, 106 Action and perception, 4, 12, 26, 51, 68–74, 76, 143, 188, 193, 238–240, 260, 271, 272 decoupling of, in theatricality, 26, 51, 72, 115, 116, 194–198, 260 intertwining of, in performativity, 26, 70, 73, 115, 195–197, 260, 266, 267, 270 1 1 Activism, 31, 32, 211–241 metaphors, 213, 235, 237 textile, 223–228 See also Clowns, activist; Craft, craftivism; Orange Alternative; Yarn bombing Affordances, 109, 120n87, 170, 172, 195–197 Agency, 9, 11, 239, 240 Aldrich, Francis, 182, 183 Anthropocene, 234–241 Anthropomorphism, 50, 70, 71 Antitheatricalism, 2, 3, 5–7, 27, 30, 35n6, 47–80, 83n84, 91, 101, 107, 112, 130, 132, 139, 146, 149, 150, 169, 193, 234, 260, 266–269 anti-technological, 31, 173, 182, 190 as anti-textural, 30, 80, 227 Note: Page numbers followed by ‘n’ refer to notes. © The Author(s) 2018 T. Paavolainen, Theatricality and Performativity, Performance Philosophy, https://doi.org/10.1007/978-3-319-73226-8 277 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 278 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 INDEX Appearance, 1, 6, 7, 27, 57, 70, 103, 261 See also Theatricality, essence and appearance Apple, 181, 182 Home, 171, 173, 181, 185, 186 Architecture Baroque, 30, 58–63, 72, 176 dramatic qualities of, 72, 175 functionalist, 169, 177, 187, 188, 190, 214 modernist, 31, 162n105, 173–180 occupation and inhabitation, 188, 192, 212 and textiles, 95, 96, 178, 180 See also Le Corbusier; Semper, Gottfried Aristotle, 16, 19, 23, 54, 75, 103, 229 Artaud, Antonin, 111, 141 Audience, see Spectatorship Auslander, Philip, 79 Austin, J. L., 6, 9, 35n17, 36n31, 54, 82n60, 236 B Balme, Christopher, 7–11, 195 Bal, Mieke, 62 Barba, Eugenio, 16–18, 129, 153, 253–255 Baring the device, 7, 75, 100, 101, 104, 108 Barish, Jonas, 6, 47, 48, 52, 132 Baroque, 30, 48–51, 58–63, 71, 72, 76, 174, 176, 261, 263, 265, 267, 271 Beckett, Samuel, 8, 30, 31, 132–134, 153–158, 270, 271 Footfalls, 130, 133, 134, 142–153, 156, 157 Becoming, 3, 13, 17, 19, 24, 29, 52, 54, 55 Behrens, Peter, 96, 97, 174 Bell, Vikki, 24, 26, 214, 236–238, 264 Benjamin, Walter, 100, 101, 115 Benton, Tim, 173, 176 Bernini, Gianlorenzo, 30, 50, 51, 53, 58–63, 71, 72, 130, 153, 176, 270 See also Baroque; St. Peter’s Square Bogad, L. M., 213, 220, 229, 230, 235 Borromini, Francesco, 30, 53, 61, 72, 130, 153 Bottoms, Stephen, 4, 9, 78 Brecht, Bertolt, 30, 91, 92, 101–106, 109, 111, 138, 150, 152, 154, 179, 197, 200n62, 229, 231, 233, 265, 267 Brook, Peter, 30, 92, 104–114, 116, 130, 132, 271 Burns, Elizabeth, 7, 115, 266 Butler, Judith, 3, 9, 24, 26, 36n32, 52, 103, 193, 203n138, 213, 214, 216, 220, 224, 235, 236, 238, 240, 241, 242n11, 263–265 Buttimer, Anne, 15, 54, 77, 79, 241 Byron, Glennis, 150, 151 83 C Callow, Simon, 139, 141, 152, 155 Carlson, Marvin, 8, 38n57, 69, 266, 269 Cave, see Plato Chinoy, Helen Crich, 91, 93, 111 Cinema, 7, 91, 98, 106, 109, 132, 155, 156, 163n128, 176, 177 Clark, Andy, 188, 189, 192–195 Clowns, activist, 32, 228–234 Cognition, 12, 31, 38n53, 68, 172, 173, 187, 188, 192, 193, 202n133, 203n136, 254, 268, 269 enactive and extended, 31, 56, 68–74, 173, 187–189, 192–198, 203n138, 203n142 Platonic, 52, 54–56, 72–74, 77, 193 Colomina, Beatriz, 176, 177, 179 Colonnade, see Baroque; Bernini, Gianlorenzo; St Peter’s Square 105 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 INDEX 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 Colour, 32, 64, 66, 67, 131, 132, 177, 178, 212, 216–223, 231, 232, 234, 235, 239, 241, 243n57, 261, 263, 270, 271 Contextualism, 3, 13–16, 21–24, 28, 32, 33, 55, 71, 79, 151, 185, 191, 241, 258, 259, 262–267 Craft, 21, 141, 142, 191 craftivism, 223–228 feminization of, 75, 174, 224, 225 Craig, Edward Gordon, 106, 107 Cube, see Fried, Michael; Literalism; Minimalism Cull, Laura, 4, 29, 254, 257, 258, 260, 261, 268, 271 See also Immanence and transcendence D De Certeau, Michel, 214, 226, 235 Defamiliarization, see Estrangement De Kerckhove, Derrick, 56 De Landa, Manuel, 184 Deleuze, Gilles, 4, 13, 26, 50, 62, 85n126, 214, 236, 237, 254, 271 and Guattari, Félix, 13, 20, 184 rhizome, 20, 26, 254 See also Immanence and transcendence; Lines, of light and becoming (Deleuze) Directing, 1, 7, 30, 91–116, 269 Dourish, Paul, 184, 185, 189 Dramaturgy, 3, 10, 16–20, 100, 113, 129, 130, 153, 154 architectural, 59–61, 72, 169, 174–176, 187, 188 aspectual, 52, 69–74, 176 of enclosure and escape, 52, 65, 75, 76, 78, 258 linear, 18, 52, 148 metaphors of, 16–20, 129, 254–258 in performance, 30, 31, 129–158 279 Platonic, 51, 52, 59, 95 as texture, 17, 18, 129, 253–256 of texture and context, 51, 175 as work of actions, 16, 129, 153, 253, 254 Dwarfs, 217–221 165 E Ecology, 3, 20, 23, 24, 73, 196, 197, 240 cognitive, 68, 70, 74, 173, 192–198, 260 as life of lines, 23, 24, 240, 271 See also Action and perception Egginton, William, 62 Embrace Beckett, 142, 157 Bernini, 58, 153 Shaffer, 139–141, 154, 160n44 Essence/essentialism, 7, 8, 24, 79, 141, 258, 263, 265, 272 Butler and, 8, 9, 103 in Brook, 92, 104–107 and medium-speciicity, 65, 94 and theatricalism, 91, 92, 104, 105, 108 See also Performativity, vs. essentialism; Theatricality, essence and appearance Estrangement, 15, 28, 55, 100, 102–104, 111, 115, 178, 189, 198, 222, 223, 227, 229, 258, 261, 262, 267 Event/eventness, 3, 17–19, 21–24, 55, 62, 254, 272 historic (Pepper, Brecht), 22, 102, 266 of place and space (Ingold, Massey), 191, 236 theatrical (Sauter), 23, 263 Evreinov, Nikolai, 30, 92, 104–106, 216, 235 171 166 167 168 169 170 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 204 205 280 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233 234 235 236 237 238 239 240 241 242 243 244 245 INDEX F Fehérváry, Krisztina, 217 Feminism, 21, 70, 224, 225 See also Gender Féral, Josette, 8, 78, 79, 115, 116 Film, see Cinema Fischer-Lichte, Erika, 20, 74, 266 Forman, Miloš, 134, 155 Formism, 13–16, 77 in Plato and Aristotle, 47, 54, 55, 62, 67, 72, 73, 75, 79, 81n41, 262 Form, theatricality of, 190, 191, 195, 216, 227, 228, 261, 262, 270, 271 dressing (masking veiling clothing), 96, 175, 178, 227, 229 ornament, 17, 70, 155, 169, 173, 174, 178, 185, 186, 199n28, 225 relief, 80, 96–99, 114, 116, 174 Frederick, Christine, 170, 182 Fried, Michael, 6, 8, 30, 48, 50, 63–71, 73, 76, 79, 80, 83n84, 93, 116, 142, 151, 190, 226, 263 See also Literalism; Objects/ objecthood Fuchs, Elinor, 52, 81n19 Fuchs, Georg, 30, 92, 96–100, 104, 106, 112–114, 116, 130, 142, 174, 177 Function, see Architecture, functionalist; Performativity, and function Fydrych, Major Waldemar, 218, 219, 221 G Garner, Stanton B., 146, 147 Gender, 4, 8, 17, 20, 21, 65, 68, 78, 175, 178, 182, 183, 224, 226 Gibson, James J., 24, 73, 196, 197, 269 Gontarski, S. E., 132–134, 156, 157 Gorelik, Mordecai, 96, 99–101, 112, 113 Grotowski, Jerzy, 7, 91, 100, 111, 114, 122n167, 199n28, 217, 265 246 H Habit and skill, 3, 28, 72, 116, 141, 196 Hall, Peter, 131, 134, 141, 150, 155 Harbison, Robert, 58, 61, 63 Harper, Richard, 20, 183, 184 Havelock, Eric, 54–56, 77 Heidegger, Martin, 27, 40n122, 69, 70, 223 ready-to-hand, 181, 185, 186, 189 Hills, Helen, 58 Home/domesticity, 31, 170, 172, 176, 177, 179, 180 automation, 172, 181–187 feminization of, 182, 183, 225 Honzl, Jindřich, 100, 194 252 I Identity, 8, 10, 24, 134, 144–146, 151, 188, 213, 224, 263–265, 272 Image, 94–98, 112–116, 130, 174, 261, 263, 270, 271 Beckett, 142, 143, 147, 157 Brook, 106, 109 Fuchs, 96–98 irresistible, 233 Le Corbusier, 175–178 Plato, 56, 67, 75, 79 Wagner, 94–96, 98, 100 Immanence and transcendence, 4, 5, 11, 29, 34, 81n41, 254, 257, 258, 260, 268, 271 See also Cull, Laura; Deleuze, Gilles 268 247 248 249 250 251 253 254 255 256 257 258 259 260 261 262 263 264 265 266 267 269 270 271 272 273 274 275 276 277 278 279 280 281 282 283 INDEX 284 285 286 287 288 289 290 291 292 293 294 295 296 297 298 299 300 301 302 303 304 305 306 307 308 309 310 311 312 313 314 315 316 317 318 319 Ingold, Tim, 3, 11, 13, 15, 17, 19, 20, 23–28, 33, 55, 75, 80, 114, 130, 144, 176, 188, 191, 192, 198, 216, 235, 236, 238–240, 253, 255, 256, 267–270 logic of inversion, 24, 80, 211, 240, 241 See also Lines; Network and meshwork Interweaving, 10, 11, 17, 18, 113, 191, 192, 265, 268, 269 of art forms (Wagner), 94, 95, 111 of performance cultures, 20, 104 seamful, 96, 101, 185 See also Dramaturgy; Embrace; Texture; Weaving J Jackson, Shannon, 5, 6, 9, 48, 65, 69, 78, 262 Johnson, Mark, 12, 196, 269 Jones, Amelia, 64 K Kirsh, David, 170, 172, 187, 196 Kitao, Timothy, 59–61 Kivy, Peter, 141 Knit grafiti, see Yarn bombing Koss, Juliet, 96, 98, 103, 104 Krauss, Rosalind, 49, 66 L Lakoff, George, 12, 269 Le Corbusier, 31, 169, 170, 187, 195, 212 Villa Savoye, 171, 173–180, 188, 192 Lefebvre, Henri, 214 281 Lessing, Gotthold Ephraim, 16, 154, 253, 254, 266 Lines, 3, 4, 13, 17, 23–28, 62, 96, 119n60, 139, 140, 144, 145, 188, 241 of light and becoming (Deleuze), 20, 25, 214, 267 Ingold on, 160n41, 191, 192, 198, 211, 212, 237, 240, 246n144, 253, 267 making of (drawing, writing, walking), 59, 132, 144, 145 See also Ingold, Tim; Network and meshwork Literalism, 30, 63–71, 227, 263 See also Fried, Michael; Objects/ objecthood Loldiers of Odin, 215, 229–234 Loos, Adolf, 169, 173–179 Loxley, James, 265 320 M Massey, Doreen, 191, 193, 235, 240 McGillivray, Glen, 7, 8, 48, 77–79 McKenzie, Jon, 3, 9, 173, 184, 236, 238, 264 Mechanism, 13–17, 21, 38n68, 63, 77, 93, 112, 198, 213, 262 in Brecht and Meyerhold, 112, 119n78 functionalism, 172, 187, 188 in Wagner, 95 Media/medium interrelation of (Wagner), 94, 111 medium speciicity, 65, 79, 111, 115 separation of (Brecht, Beckett), 101–103, 143 Memory, 130, 133, 137, 138, 148, 150, 151, 255, 256 Meshwork, see Ingold, Tim; Network and meshwork 340 321 322 323 324 325 326 327 328 329 330 331 332 333 334 335 336 337 338 339 341 342 343 344 345 346 347 348 349 350 351 352 353 354 355 356 357 358 359 282 360 361 362 363 364 365 366 367 368 369 370 371 372 373 374 375 376 377 378 379 380 381 382 383 384 385 386 387 388 389 390 391 392 393 394 395 396 397 398 399 400 INDEX Metaphors, 11–16, 20–22, 253–255, 262, 263, 268, 269 of dramaturgy, 129, 254–256 as performative, 11, 12, 254 root metaphors (Pepper), 13, 14, 22 See also Network and meshwork; Texture; Weaving Meyerhold, Vsevolod, 30, 92, 99–101, 103–107, 111–116, 197, 270 Mind, see Cognition Minimalism, 30, 48, 50, 51, 63–70, 106, 133, 160n57, 162n105 See also Fried, Michael; Literalism; Objects/objecthood Modernism, 7, 8, 30, 31, 49–51, 63–69, 91–116, 130, 169, 173–180 and whiteness, 64, 66, 67, 178 Monologue, dramatic, 134, 150, 151 Moretti, Franco, 133, 137 Morgan, Gareth, 16 Morris, Robert, 50, 64, 66, 70, 71, 101 Morton, Timothy, 23, 25, 26, 240 Mozart, Wolfgang Amadeus, 61, 107, 110, 111, 131, 137, 139–141, 154–156, 263 Music, 93, 94, 97, 99, 106, 109–111, 113, 133, 139–141, 155, 255 N Naturalism, see Realism Nature, 20, 235, 236, 239, 240 Neher, Caspar, 102 Network and meshwork, 26 Ingold’s deinitions of, 24–28, 160n41, 191, 192, 212, 214, 236–239, 246n144, 268–270 theatricality and performativity of, 12, 24–28, 34, 51, 53, 64, 65, 68, 77, 103, 111, 116, 134, 135, 139, 148, 150, 176–178, 184, 187, 197, 232, 239, 253, 256, 258, 264–272 Nietzsche, Friedrich, 8, 93, 96, 98, 140 Nightingale, Andrea Wilson, 54, 55 Noë, Alva, 69–72, 196, 197 Normativity, see Performativity, novelty or normativity Norwick, Stephen, 20 401 O Objects/objecthood, 1, 6, 7, 63–69, 100, 103, 106–108, 113, 116, 121n133, 142, 144, 179, 189, 194–197, 227, 253, 261, 264, 265, 267–269, 272 See also Fried, Michael; Literalism O’Doherty, Brian, 66, 67, 132, 178 Olney, James, 133 Orange Alternative, 31, 212, 218–221 Organicism, 13–16, 173, 262, 270 in Deleuze, 254 in Fried, 63, 77 in metaphors of activism, 212, 235, 237 in Wagner, 95, 101, 111, 112 Ornament, see under Form, theatricality of 407 P Paasonen, Susanna, 183 Painting, see Visual art Parker, Roszika, 225 Parthenon/Acropolis, 57, 175, 176, 178 Payne, Alina, 174, 179, 185 Pearson, Mike, 129, 211, 212, 237 Pepper, Stephen C., 3, 13, 18, 19, 21–25, 32, 33, 54, 63, 71, 72, 79, 93, 111, 113, 129, 196, 197, 255, 258, 259, 262–267, 271 world hypotheses, 11–16, 18, 21, 32, 38n57, 260–262 Perception, see Action and perception 425 402 403 404 405 406 408 409 410 411 412 413 414 415 416 417 418 419 420 421 422 423 424 426 427 428 429 430 431 432 433 434 435 436 437 438 439 INDEX 440 441 442 443 444 445 446 447 448 449 450 451 452 453 454 455 456 457 458 459 460 461 462 463 464 465 466 467 468 469 470 471 472 473 474 475 476 477 478 479 480 481 Performance, 4, 5, 8–10, 19, 33, 64, 76, 78, 79, 221–223, 238, 262–264, 266 Performance philosophy, 4, 5, 15, 16, 21, 32, 262, 271 Performance Studies, 2, 3, 9, 77–79, 184 Performativity, 2, 5, 8–10, 34n2, 36n32, 37n37, 38n57 as absorption, 28, 31, 77, 78, 133, 134, 148, 152, 259, 261, 271 and agency, 75, 193, 238, 262 as becoming, 11, 32, 254, 257, 264 biological, 234–235 as bringing forth, 10, 269 as doing or dissimulation, 3, 5, 8, 67, 80, 95, 114, 236, 258, 272 as eficacy, 2, 9, 10, 31, 75, 115, 170, 173, 184, 258, 268 and enactive cognition, 173, 193, 194 vs. essentialism, 7, 8, 51, 52, 103, 240 and function, 31, 169, 173, 174, 185, 190, 191, 271 masculinist, 4, 9, 65, 68, 78, 225 as meshwork, 24–26, 197 more-than-human, 32, 212, 234–241, 255 novelty or normativity, 2, 9, 15, 25, 26, 31–33, 75, 80, 93, 103, 114, 133, 140, 141, 183, 184, 190, 214, 236, 238, 258–261 plural, 24, 213, 220 as repetition or reiteration, 8, 51, 55, 79, 115, 133, 141, 144, 147, 154, 195–198, 239, 256, 258, 260, 262–264, 269, 271, 272 as zooming in, 28, 266 See also Action and perception; Identity; Network and meshwork; Habit and skill; Spatiality and temporality; Temporality 283 Perspectives, 22, 26, 32, 33, 58–63, 69, 95, 103, 116, 151, 239, 258–272 irst and third person, 31, 103, 109, 116, 145, 148, 150–152, 194 See also Network and meshwork; Theatricality, as distance or doubleness; Theatricality, as perspective on performativity; Zooming Platform, 99–104, 106, 109, 110, 112–116, 142, 174, 261, 263, 270 See also Brecht, Bertolt; Meyerhold, Vsevolod Plato, 6, 14, 30, 47, 48, 51–58, 62, 63, 67, 72–76, 78, 95, 141, 142, 148, 173, 177, 179, 261, 270, 271 Cave parable, 52–58, 153, 224, 261, 262; as allegory of performativity, 72–74; as prototype of theatricality, 52, 148, 261, 270, 271 Republic, 52–58 Sophist, 57 Statesman, 214, 226 Play within the play, 31, 148 Polykleitos, 49, 51, 57 Postlewait, Thomas and Davis, Tracy C., 6, 48, 76, 91, 112 Pragmatism, 9, 13, 21, 22, 24, 266, 271 Public space/sphere, 71, 188, 213, 214, 216, 220, 223, 224, 226, 240 Puchner, Martin, 3, 8, 48, 76, 92, 96, 101, 111, 112, 146, 149 482 R Rachlin, Howard, 73–74 Rancière, Jacques, 75, 76, 216 Realism, 7, 91, 93, 94, 97, 100, 102, 146, 195, 267 517 483 484 485 486 487 488 489 490 491 492 493 494 495 496 497 498 499 500 501 502 503 504 505 506 507 508 509 510 511 512 513 514 515 516 518 519 520 521 284 522 523 524 525 526 527 528 529 530 531 532 533 534 535 536 537 538 539 540 541 542 543 544 545 546 547 548 549 550 551 552 553 554 555 556 557 558 559 560 INDEX Reiteration, see Performativity, as repetition or reiteration Relief, see under Form, theatricality of Ridout, Nicholas, 66, 69 Robertson, Kirsty, 224, 225, 228 Rokem, Freddie, 148–149 Romanticism, 63, 76, 78, 79, 95, 96, 113, 140, 141, 151, 198, 271 Russian Formalism, 100, 114, 115 S St. Peter’s Square, 176, 240 colonnade, 30, 51, 58–63, 71 See also Baroque; Bernini, Gianlorenzo Saltz, David, 91, 92, 94, 158, 184 Sayeg, Magda, 224, 227 Scenography, 18, 19, 91–116 architectural, 61 Schechner, Richard, 4, 10, 17, 25, 33, 108, 222, 238, 254, 264, 269 Sculpture, 30, 48–51, 57, 63–70, 99, 103, 132, 215, 223 Sedgwick, Eve Kosofsky, 3, 8, 114, 196, 259 Semper, Gottfried, 74, 95, 96 Shaffer, Peter, 7, 30, 31, 130–132, 134, 154, 270, 271 Amadeus, 7, 130–142, 149, 154 Shakespeare, William, 105–108, 148, 151 Sheering, see Contextualism; Zooming Shershow, Scott Cutler, 57, 58 Skill, see Craft; Habit and skill Smart home, 31, 172, 181–186, 188, 201n76 Smith, Matthew Wilson, 95, 101 Snickare, Mårten, 61 Spatiality and temporality, 17–19, 23, 27, 115, 191, 256, 272 Spectatorship, 6, 28, 66, 67, 73, 74, 78, 100, 101, 109, 115, 154, 177, 197, 231, 254 Spigel, Lynn, 181–183 Stage directions, 103, 143, 146, 149 States, Bert O., 4, 11, 12, 147, 150, 151, 222, 261, 266–268, 270 561 T Technology, 20, 21, 31, 111, 172, 173, 176, 188–191, 197, 198 domestic, 181–186 and textiles/weaving, 182–186, 191, 254, 255 Temporality, 55, 68, 72, 143, 223, 235, 236, 256, 264, 265 past tense, 103, 116, 145, 152 See also Spatiality and temporality Textiles, 20, 21, 74 in activism, 223–227 and architecture, 95, 96, 178 See also Craft; Technology; Weaving; Yarn bombing Texture, 3, 17–21, 49–52, 72, 85n126, 93, 129, 130, 196, 197, 214, 216, 217, 223, 253–257 and context, 22, 23, 51, 69, 111, 153–158, 175, 262–267 dense and sparse, 30, 75, 93, 94, 112–114, 130, 152, 153, 266, 267 performative and theatrical, 10, 18, 19, 22, 24–28, 112–116 and quality, 22, 65, 69, 93, 100, 103, 111–116, 197, 255, 263, 264 as surface, 23, 73, 74, 76, 100, 103, 105, 113, 114, 216 See also Contextualism; Network and meshwork; Metaphors; Weaving 568 562 563 564 565 566 567 569 570 571 572 573 574 575 576 577 578 579 580 581 582 583 584 585 586 587 588 589 590 591 592 593 594 595 596 597 598 599 INDEX 600 601 602 603 604 605 606 607 608 609 610 611 612 613 614 615 616 617 618 619 620 621 622 623 624 625 626 627 628 629 630 631 632 633 634 635 636 637 638 639 640 Theatre, 10, 19, 78, 79, 253, 266, 270, 271 arguments against, 7, 30, 47–80, 131 arguments for, 7, 30, 91–116 detheatricalization of, 8, 132, 156, 157 poor and rich, 7, 91, 105, 122n167, 265 retheatricalization of, 8, 91, 92, 96–98, 112 as seeing place, 6, 54, 91, 96, 103, 105, 148, 177, 185, 217, 270 theatrical, 99, 100, 104, 116, 119n60, 131, 138 total, 95, 141, 190 Theatricalism, 1, 2, 8, 30, 76, 81n19, 91–116, 270 Theatricality, 1–4, 6, 34n1 and absorption, 8, 30, 49, 76, 104, 148, 151, 152, 190, 261 as abstraction, 11, 27 as artiice (derived), 6, 8, 91, 174, 193, 216, 263 aspectual, 30, 51, 52, 71, 72, 153, 227 directorial, 91–116 as distance or doubleness, 12, 29, 33, 51, 63, 69, 95, 103, 104, 115, 130, 148, 150, 152, 177, 190, 238, 261, 266, 269, 270 essence and appearance, 2, 5, 6, 30, 35n16, 62, 78, 79, 92, 259 excess and emptiness, 6, 7, 30–32, 47, 48, 52, 75, 91, 92, 94, 104, 110, 112, 113, 122n167, 131, 139, 266, 267 of extended cognition, 173, 193–195 feminization of, 4, 9, 174, 216 as frontality, 98, 142, 144, 145, 153 as heightening, 8, 105, 109, 116, 266, 267 285 as interruption, 148–150 as mode of perception (seeing, visuality), 7, 51, 57, 105, 111, 149, 177, 195, 196, 238, 268, 270–272 of narration, 116, 138, 145, 146, 149, 150, 155 as network, 27–29, 197 as perspective on performativity, 15, 28, 29, 34, 74, 75, 79, 103, 111, 116, 150, 153, 214, 239, 256, 257, 261, 266, 267, 271 as pointing, 102, 103, 174, 178, 185, 197 as stepping aside (standing out), 28, 29, 72, 134, 151–153, 185, 216, 217, 231, 233, 239, 261 as synoptic, 27–29, 33, 103, 116, 137, 179, 185, 253, 256, 270, 272 as value, 2, 6, 7 of witnessing, 148, 149, 155 as zooming out, 11, 19, 28, 65, 116, 148, 239, 240, 266, 267 See also Action and perception; Appearance; Colour; Craft; Essence/essentialism; Form, theatricality of; Estrangement; Literalism; Network and meshwork; Objects/ objecthood; Perspectives; Spatiality and temporality Theatrum mundi, 58, 72, 107, 147, 149, 241 Tightrope, 107, 109, 112–116, 261 See also Brook, Peter Transcendence, see Immanence and transcendence Turner, Cathy and Behrndt, Synne K., 16, 19, 23, 129 641 642 643 644 645 646 647 648 649 650 651 652 653 654 655 656 657 658 659 660 661 662 663 664 665 666 667 668 669 670 671 672 673 674 675 676 677 678 679 680 681 286 682 683 684 685 686 687 688 689 690 691 692 693 694 695 696 697 698 699 700 701 702 703 704 705 706 707 708 709 710 711 712 INDEX U Urban fabric, 31, 214–216, 226, 227, 239, 270 V Vision, see Action and perception; Theatricality, as mode of perception Visual art, 63–69, 76, 96–98, 114, 131 See also Architecture; Sculpture W Wagner, Richard, 8, 30, 78, 92, 94–96, 98–101, 105, 110–116, 117n20, 130, 140, 178, 265, 270, 271 Walking, 257 activism, 230 Beckett, 142, 144, 145, 147, 153, 154, 157 Brook, 105, 107, 109, 110 de Certeau, 231 Ingold, 130 Le Corbusier, 176 See also Lines, making of Warwick, Genevieve, 50, 58 Weaving, 17–19, 74, 75, 94, 117n12, 129, 130, 133, 138, 139, 144, 154, 254, 255, 263, 268, 271 and glossing, 256–258, 268 technology as, 180, 182, 184, 191, 225 warp and weft, 136, 143–146, 153, 214 See also Craft; Textiles Weber, Samuel, 54, 115, 263 Weiser, Mark, 31, 172, 181–185, 190 White, Hayden, 15 Whitelaw, Billie, 130–132, 134, 142, 147, 153, 156 Wigley, Mark, 174, 175, 177, 178 Wiles, David, 51, 57, 78, 146 Wójcik, Julita The Rainbow, 221–222 Wölflin, Heinrich, 62, 63 World hypotheses, see Contextualism; Formism; Mechanism; Organicism; Pepper, Stephen C. Worthen, W. B., 146, 147, 156, 157 713 Y Yarn bombing, 223–228 See also Activism; Craft; Textiles 730 Z Zooming, 116, 148, 254, 258, 266, 267, 270 Brecht, 103 Brook, 105, 114, 116 Fried, 65 Ingold, 28 Pepper, 23 Plato, 52 See also Performativity, as zooming in; Theatricality, as zooming out 733 714 715 716 717 718 719 720 721 722 723 724 725 726 727 728 729 731 732 734 735 736 737 738 739 740 741 742 743