Derridin potpis na performativu savremenog performansa
In the paper I consider Derrida’s influence(s) on contemporary performing arts theory and practice. More specific, the topical subject of the paper are influences and significance of Derrida’s re-reading of theory of performative (as it is put within analytic philosophy, and philosophy of ordinary language in particular – e.g. in Austin, Strowson, and Searl’s work) for/in performing arts theory and practice from 1970s till nowadays. The point of departure for the process I consider is Derrida’s text Signature, event, context (1971), where he makes a brilliant profound deconstruction of the very conceptual system that enables, as it is presupposed, unique continual communicational context, and happy realization of a performative utterance in the frame of it. Thence he achieves replacement of the elements in the binary pair ‘literal – parasitic’ performative, deconstructing common sense propositions of the ‘seriousness’ of communication in ‘ordinary life’ in difference to ‘stage’ situation. His re-reading enters the field of performing arts, where becomes integrated in its basic concepts and practices, such as concept of performance itself. Thanks to Derrida, new paradigms of performance’s performatives in its cultural and social context replace former naive intentions of direct impacts, and their already-yet failures. Nowadays, one of the dominant thesis of performance’s performative within performing arts studies is that performance is relative autonomous but necessairly inner social practice, whose intervention is first of all illocutory act of artistic discourse in the network of social discourses – as one of them, and whose politics is therefore nothing than its work with the discourse with all its ideological implications itself.
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