Performance Philosophy: audience participation and responsibility
Keywords:spectators, RanciÃ¨re, emancipation, democracy
This article critically assesses the position of the spectator in philosophy and (participatory) performances. By means of an in-depth reading of Rancière’s notion of the emancipated spectator, Kester’s theory of dialogical aesthetics and a case study of the performance Order of the Day, an account of the changing position of the audience in contemporary society and in artistic events is established. Research into the responsibility of the spectator in both philosophy and performance can broaden our understanding of the production and perception of knowledge in an age of media omnipresence. The field of Performance Philosophy provides potential for analyzing where performance and philosophy overlap and how this contributes to asking critical questions and generating new perspectives on how we occupy certain positions in society.
Artaud, Antonin. 1958. The Theater and its Double. Translated by Mary Caroline Richards. New York: Grove Press.
Bauman, Zygmunt. 2000. Liquid Modernity. Cambridge: Polity Press.
Bishop, Claire. 2012. Artificial Hells. Participatory Art and the Politics of Spectatorship. London and New York: Verso.
Boal, Augusto. 2008. Theatre of the Oppressed. London: Pluto Press.
Brecht, Bertolt. 1964. Brecht on Theatre. Translated and edited by John Willett. London: Eyre Methuen.
Kester, Grant. 2004. Conversation Pieces. Community and Communication in Modern Art. Berkeley and Los Angeles: University of California Press.
Kester, Grant. 2011. The One and the Many. Contemporary Collaborative Art in a Global Context. Durham and London: Duke University Press. https://doi.org/10.1215/9780822394037
Lehmann, Hans-Thies. 2006. Postdramatic Theatre. Translated and with an introduction by Karen Jürs-Munby. New York: Routledge.
Rancière, Jacques. 2009. The Emancipated Spectator. Translated by Gregory Elliott. London and New York: Verso.
Woolf, Brandon. 2013. "Towards a Paradoxically Parallaxical Postdramatic Politics?" In Postdramatic Theatre and the Political: International Perspectives on Contemporary Performance, edited by Karen Jürs-Munby, Jerome Carroll, and Steve Giles, 31-46. London: Bloomsbury Methuen.
How to Cite
Authors who publish with this journal agree to the following terms:
- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Attribution-NonCommercial-ShareAlike License that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal, provided it is for non-commercial uses; and that lets others excerpt, translate, and build upon your work non-commercially, as long as they credit you and license their new creations under the identical terms.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
- Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).