Repetition as the Performative Syndrome of Dying


  • Keti Chukhrov National Research University Higher School of Economics (Moscow)/Marie Curie Fellow at Wolverhampton University (UK)



Dying, Deleuze, Derrida, Event, Repetition, Pleroma, Performativity, Temporality


In his Difference and Repetition Deleuze reveals an aporia: repetition is singular, solitary, it is torn away from any original or source; nevertheless it preserves a genetic tie with certain event to which it is a repetition. This solitariness of the repetition is not, however, confined to mere difference between the act of repetition and the repeated source that cancels the original just to differentiate two performative procedures. An act of repetition is solitary only when it evolves in specific time-regime, which even ontically diverges from the regular ontology of time. Deleuze calls such temporality “empty”, Nietzsche defines it as amor fati, Heidegger sees in it convergence of eternity and an instant. The stake in this case is a specific kind of repetitive regime which unfolds as the performative syndrome of ‘dying’ – a “repetition into death” (Deleuze) which paradoxically executes itself as performative plenitude. But who is the Subject undergoing such a syndrome and what should have happened to her/him so as to impose the regime of dying on any act of repetition?

Author Biography

Keti Chukhrov, National Research University Higher School of Economics (Moscow)/Marie Curie Fellow at Wolverhampton University (UK)

Keti Chukhrov is ScD in philosophy, an associate professor at the Department of Сultural Studies at the National Research University Higher School of Economics. Her post-doctoral research was run at the Philosophy Institute of Academy of Sciences headed by V. Podoroga. In 2012-2017 she was the head of Theory and Research department  at the National Center of Contemporary Art, Moscow, where she founded research platform Theoretic Inquiry in Cultural Anthropolgy (TICA). Chukhrov is the translator of C.S. Peirce into Russian. She has authored numerous texts on art theory, culture, politics, and philosophy. Her postdoctoral dissertation dealt with the anthropology and ontology of performativity. Her full-length books include: To Be—To Perform. ‘Theatre’ in Philosophic Critique of Art (Spb: European University, 2011), and Pound &£ (Logos, 1999) and a volume of dramatic writing: Merely Humans (2010). Currently she is a Marie Sklodowska Curie fellow in UK, Wolverhampton University. Her present research interests and publications deal with 1.the impact of the Soviet economy on the epistemes of historical socialism 2. Performance studies, 3. Art-systems and 3. Neo-humanism in the conditions of post-human theories. With her video-play “Love-machines” she participated at the Bergen Assembly and “Specters of Communism” (James Gallery, CUNY, NY, 2015). Her Latest video-play “Communion” was in the program of the Kansk video film festival (Moscow, 2016) and at the Ljubljana Triennial U-3 “Beyond the Globe (2016, cur. B. Groys). 


Austin, John. 1962. How to Do Things with Words. Cambridge, MA: Harvard University Press.

Butler, Judith. 1988. “Performative Acts and Gender Constitution.” Theatre Journal 40 (4): 519–531.

Butler, Judith. 2006. Gender Trouble. New York and London: Routledge.

Chukhrov, Keti. 2018. “Institutes of Performativity. Towards and Institutional Ethics.” Springerin 24 (3): 16–23.

Deleuze, Gilles. 2001. Difference and Repetition. Translated by Paul Patton. London: Continuum.

Deleuze, Gilles. 1990. Logic of Sense. Translated by Mark Lester. London: The Athlone Press.

Deleuze, Gilles. 2000. “One Less Manifesto,” In Mimesis, Masochism, Mime: The Politics of Theatricality in Contemporary French Thought. Edited by Timothy Murray, 239–259. Ann Arbor: University of Michigan Press.

Derrida, Jacques. Of Grammatology. 1997. Translated by Gayatri Chakravorty Spivak. Baltimore: John Hopkins University Press.

Derrida, Jacques. 2005. “La Parole Souflé.” In Writing and Difference. Translated by Alan Bass, 212–245. London and New York: Routledge.

Derrida, Jacques. 2005. “The Theatre of Cruelty and the Closure of Representation.” In Writing and Difference. Translated by Alan Bass, 292–317. London and New York: Routledge.

Derrida, Jacques. 1988. “Signature, Event, Context.” In Limited Inc. Translated by Samuel Weber and Jeffrey Mehlman, 1–25. Evanston, IL: Northwestern University Press.

Fischer-Lichte, Erika. 2008. Transformative Power of Performance. Translated by S.I. Jain. London and New York: Routledge.

Groys, Boris. 1981. “On the Autonomy of Art.” A manuscript from the folders of MANI, Moscow Archive of New Art, (folder 2). Envelope 7, p.7. Archive Forschungsstelle Osteuropa, Bremen (FSO). F. 75.

Monastyrsky, Andrey. 1997. “On the Autonomy of Art”. In Mesto Pechati 10. Accessed 7 February 2018.

Malabou, Catherine. “Power and Performance at Play: A Question of Life or Death.” 2017. In Inter Views in Performance Philosophy. Edited by Anna Street, Julien Alliot, and Magnolia Pauker, 127–139. Basingstoke: Palgrave Macmillan.

Malabou, Catherine. 2012. Ontology of the Accident. Essay on Destructive Plasticity. Translated by Carolyne Shread. London: Polity.

Lacan, Jacques. 1997. “The Essence of Tragedy. Comments to the Antigone.” In The Seminar of Jacques Lacan: Book VII, The Ethics of Psychoanalysis 1959–1960. Translated by Dennis Porter. Edited by Jacques-Alain Miller, 243–290. New York: W.W. Norton.

Nietzsche, Friedrich. 1999. The Birth of Tragedy. In The Birth of Tragedy and Other Writings. Translated by Ronald Speirs. Edited by Raymond Geuss and Ronald Speirs. Cambridge: Cambridge University Press.

Nietzsche, Friedrich. 2011. Ecce Homo. Translated by Anthony M. Ludovici. Vol. 17 of Complete Works by F. Nietzsche. Edited by Oscar Levy. New York: Macmillan.

Peirce, Charles Sanders. 1878. “How to Make Our Ideas Clear.” Popular Science Monthly 12: 286–302. Accessed 7 May 2018.

Shakespeare, William. 1975. The Complete Works. Edited by Alfred Harbage. New York: Penguin Books.




How to Cite

Chukhrov, K. (2019). Repetition as the Performative Syndrome of Dying. Performance Philosophy, 4(2), 476–489.