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 Performance Philosophy

Series Editors
Laura Cull Ó Maoilearca
University of Surrey
Guildford, Surrey, UK

Alice Lagaay
Bauhaus-Universität Weimar
Weimar, Germany

Will Daddario
Independent Scholar
Asheville, NC, USA

“Towards the end of this insightful, critical and caring collection of writings between and
beyond performance and philosophy an echo hangs in the air: And so the questions remain.
As well they might given the ground covered by a suite of startling essays that not only tend to
this dynamically developing field but, in the original spirit of broadcasting, cast seeds of
thought way beyond the ploughed furrow of disciplinary rectitude. If the fine contributors to
this invaluable volume could forgive me a category mistake: essential reading.”
—Alan Read, Professor of Theatre and Director Performance Foundation,
King’s College London

“Among the many insights contained within this volume, perhaps the most critical is also one of
the simplest: that the process of dialogue is integral to the practices of performance and philosophy
alike. The interlocutions collected here, which bring together some of the most important and
innovative thinkers of our moment, are necessary reading for anyone interested in the possibilities
of the field that has come to be known as Performance Philosophy. With urgency and vigor, these
essays and interviews invite us into a conversation that reaches far beyond the pages of this book.”
—David Kornhaber, Associate Professor of English and Comparative Literature,
University of Texas at Austin, and author of The Birth of Theater from the
Spirit of Philosophy: Nietzsche and the Modern Drama
Performance Philosophy is an interdisciplinary and international field of
thought, creative practice and scholarship. The Performance Philosophy
book series comprises monographs and essay collections addressing the
relationship between performance and philosophy within a broad range of
philosophical traditions and performance practices, including drama, thea-
tre, performance arts, dance, art and music. It also includes studies of the
performative aspects of life and, indeed, philosophy itself. As such, the
series addresses the philosophy of performance as well as performance-as-
philosophy and philosophy-as-performance.

Series Advisory Board: Emmanuel Alloa, Assistant Professor in Philosophy,

University of St. Gallen, Switzerland; Lydia Goehr, Professor of Philosophy,
Columbia University, USA; James R. Hamilton, Professor of Philosophy,
Kansas State University, USA; Bojana Kunst, Professor of Choreography
and Performance, Institute for Applied Theatre Studies, Justus-Liebig
University Giessen, Germany; Nikolaus Müller-Schöll, Professor of
Theatre Studies, Goethe University, Frankfurt am Main, Germany; Martin
Puchner, Professor of Drama and of English and Comparative Literature,
Harvard University, USA; Alan Read, Professor of Theatre, King’s College
London, UK; Freddie Rokem, Professor (Emeritus) of Theatre Arts, Tel
Aviv University, Israel.

http://www.performancephilosophy.org/books/

More information about this series at

http://www.springer.com/series/14558
Anna Street • Julien Alliot • Magnolia Pauker
Editors

Inter Views in
Performance
Philosophy
Crossings and Conversations
Editors
Anna Street Julien Alliot
English Studies English Studies
University of Paris-Sorbonne University of Paris-Sorbonne
Paris, France Paris, France

Department of European Cultures and Magnolia Pauker

Languages Critical and Cultural Studies
University of Kent Emily Carr University of Art + Design
Canterbury, UK Vancouver, British Columbia, Canada

Performance Philosophy
ISBN 978-1-349-95191-8 ISBN 978-1-349-95192-5 (eBook)
DOI 10.1057/978-1-349-95192-5
Library of Congress Control Number: 2017951027

© The Editor(s) (if applicable) and The Author(s) 2017

The authors have asserted their rights to be identified as the authors of this work in accordance
with the Copyright, Design and Patents Act 1988.
This work is subject to copyright. All rights are solely and exclusively licensed by the
Publisher, whether the whole or part of the material is concerned, specifically the rights of
translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on
microfilms or in any other physical way, and transmission or information storage and
retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology
now known or hereafter developed.
The use of general descriptive names, registered names, trademarks, service marks, etc. in this
publication does not imply, even in the absence of a specific statement, that such names are
exempt from the relevant protective laws and regulations and therefore free for general use.
The publisher, the authors and the editors are safe to assume that the advice and information
in this book are believed to be true and accurate at the date of publication. Neither the
publisher nor the authors or the editors give a warranty, express or implied, with respect to
the material contained herein or for any errors or omissions that may have been made. The
publisher remains neutral with regard to jurisdictional claims in published maps and institutional
affiliations.

Cover illustration: @FLOgiordano

Printed on acid-free paper

This Palgrave Macmillan imprint is published by Springer Nature

The registered company is Macmillan Publishers Ltd.
The registered company address is: The Campus, 4 Crinan Street, London, N1 9XW,
United Kingdom
 ACKNOWLEDGMENTS

The editors would like to thank the contributors to this volume for the
intensely engaging discussions that animated this venture and transformed
it into a series of interactive conversations. Our collaboration with you has
been a true delight and one of the highlights of our academic experiences
to date. We are humbled by your confidence.
While the contributions herein have considerably evolved in being
adapted to the book project, the original encounter that brought these
discussions together was the Theater, Performance, Philosophy: Crossings
and Transfers in Contemporary Anglo-American Thought conference held
at the Sorbonne in June 2014. We are indebted to our fellow co-organi-
zers of that event, Flore Garcin-Marrou and Liza Kharoubi, for their vision
and commitment. Many thanks as well to our partners for their support,
and to the many participants who came from near and far to further these
investigations. Special thanks to Elisabeth Angel-Perez for her unfailing
encouragement, inspiration, and support every step of the way.
To the series editors – Laura Cull, Alice Lagaay, Will Daddario, and
former series editor Freddie Rokem – we avow our sincerest admiration
and gratitude. Thank you for your perseverance in forging ever-new
possibilities for research and your generosity in welcoming everyone to
the field.
Many thanks to Florence Giordano for creating our cover design and to
the folks at Palgrave for their kindness and assistance.

v
vi ACKNOWLEDGMENTS

Each of us would also like personally to thank our loved ones:

To Antoine, for his unwavering confidence. To my sister Amber, for
stepping in and making all our lives brighter. And to my sons Aurélien,
Florian, and Raphaël, for their gift of joy. ~ Anna
To my dearest Rachel, for her patience and love, her supportive sense of
humor and her refreshing insights. ~ Julien
With thanks to my parents, the first of many generous interlocutors who
have inspired and welcomed my questions. To Josh, again and again. And
for Olin and Tegel, with love. ~ Magnolia
 CONTENTS

Part I Deterritorializing Philosophy: Cross-Continental

Transfers and Transformations

Introduction: Genealogies of Performance Philosophy 3

Anna Street, Magnolia Pauker and Julien Alliot

The Philosophical Interview: Queer(y)ing Performance 23

Magnolia Pauker

Part II Between Writing and Performance

Scenes of Instruction 39
Martin Puchner

Stories from the In-Between: Performing Philosophy

Alongside the Unknown 51
Laura Cull Ó Maoilearca

From Corpse to Corpus: Excavating Bodies of Theatrical

Self-Reflection 57
Ramona Mosse

vii
viii CONTENTS

Performative Disruptions
and the Transformation of Writing 69
Martin Puchner and Anna Street

Part III Between Discipline and Performance

Ouisconsin Eidos, Wisconsin Idea, and the Closure of Ideation 79

Jon McKenzie

Inter Faces: Remapping Sights of Knowledge 97

Anna Street

Performative Disciplinarity in Alternate Reality

Games from Foucault to McKenzie and Beyond 107
Natasha Lushetich

Philosophical Interruptions and Post-Ideational Genres:

Thinking Beyond Literacy 117
Jon McKenzie and Anna Street

Part IV Between Plasticity and Performance

Power and Performance at Play: A Question of Life or Death 127

Catherine Malabou

The Animal Way: On Malabou’s Deconstructed Life 139

John Ó Maoilearca

Biological Plasticity and Performative Possibility in the Work of

Catherine Malabou and Curious 145
Katie Schaag

Thresholds of Resistance: Between Plasticity and Flexibility 161

Catherine Malabou, Julien Alliot and Anna Street
 CONTENTS ix

Part V Between Politics and Performance

When Gesture Becomes Event 171

Judith Butler

Framing Performance Philosophy through the Proscenium 193

Freddie Rokem

Subjects of Subversion: Rancière and Butler on the

Aesthetics of Politics 205
Clare Woodford

The Scene of Philosophy 219

Judith Butler and Magnolia Pauker

Part VI Beyond the Margins of Performance

Ach! The History of a Complaint 229

Avital Ronell

Ach? Ah! Whatever…The Invention of “BOF-ology” 247

Alice Lagaay

Performing Stupidity 255

Sara Baranzoni

Philosophical Proving Grounds 267

Avital Ronell and Magnolia Pauker

Part VII Performing Care

Irrevocable Loss 279

Alphonso Lingis

Performing with Care: Reading with Alphonso Lingis 301

Sam Kolodezh
x CONTENTS

On Performance and the Dramaturgy of Caring 309

Rebecca M. Groves

Performing Care: Exploring Rituals, Demands and Otherness 319

Alphonso Lingis and Julien Alliot

Part VIII Coda

Performance Knots: Crossed Threads

of Anglo-American Thought
and French Theory 327
David Zerbib, Julien Alliot, Magnolia Pauker and Anna Street

Index 339
 LIST OF FIGURES

Ouisconsin Eidos, Wisconsin Idea, and the Closure of Ideation

Fig. 1 Amérique septentrionale, (1650) Nicolas Sanson. Wisconsin
Historical Society, WHS-73021 81
Fig. 2 Partie occidentale du Canada et septentrionale de la Louisiane
avec une partie de la Pensilvanie, (1775) Jean-Baptiste
Bourguignon d’Anville. Wisconsin Historical Society,
WHS-39793 82
Fig. 3 Symbolic Petition of the Chippewa Chiefs, (1851) Seth
Eastman. Wisconsin Historical Society, WHS-1871 84
Fig. 4 Draft of Changes to Wisconsin Idea, (2015) Governor Scott
Walker’s office. Recreation by author
90
Inter Faces: Remapping Sights of Knowledge
Fig. 1 A Palestinian woman walks past large black and white photo-
graphs, taken by French street artist JR, of Palestinians, on
September 6, 2011, in the West Bank city of Ramallah 104

xi
 PART I

Deterritorializing Philosophy:
Cross-Continental Transfers and
Transformations
 Introduction: Genealogies of Performance
Philosophy

Anna Street, Magnolia Pauker and Julien Alliot

In the 1970s, a new term pervaded the humanities, effectively transforming a

number of disciplines within Anglo-American academia. This term, perfor-
mance, was deployed with widely varying usages throughout different dis-
ciplines, often and somewhat ironically serving to drive them further apart
rather than uniting them around a common conceptual framework.
Nonetheless, notions of performance in many ways oriented their respective
evolutions. In linguistics, echoing the work of J.L. Austin, the turn to the
“performative” by John R. Searle and Noam Chomsky’s development of the

A. Street (*)
English Studies, University of Paris-Sorbonne, Paris, France
Department of European Cultures and Languages, University of Kent,
Canterbury, UK
e-mail: annastreet@hotmail.fr
M. Pauker
Critical and Cultural Studies, Emily Carr University of Art + Design, Vancouver,
British Columbia, Canada
e-mail: magnolia.m.pauker@gmail.com
J. Alliot
English Studies, University of Paris-Sorbonne, Paris, France
e-mail: julienalliot@yahoo.fr

© The Author(s) 2017 3

A. Street et al. (eds.), Inter Views in Performance Philosophy,
Performance Philosophy, DOI 10.1057/978-1-349-95192-5_1
4 A. STREET ET AL.

idea of speech acts changed the way language was understood to operate. In
philosophy, post-structuralism considered the new-found performativity of
language to be both parasitical and playful, implicating language in a vast
network of collective creations and contexts. The initial schism between so-
called “genuine” uses of language and their artificial counterparts cham-
pioned by Austin and Searle began to break down, leading to the curious
phenomenon of simultaneous paradigm shifts in divergent and at times even
opposing directions. Combining the fields of Anthropology and Theater
Studies, Performance Studies emerged, encompassing within its fold all
forms of ritualized and repeated behavior. In this novel perspective, lan-
guage’s parasitical aspects are precisely what pushed the recognition of
performative acts beyond the walls of the theater. New forms of performance
art gained momentum, particularly remarkable for their independence from
the written text in their embrace of the body as the ultimate carrier of
meaning. Privileging improvisation and audience interaction, scripts were
left by the wayside or even violently rejected. At the same time, within
philosophy and in perfect counter-step, post-structuralists were proclaiming
that there was nothing outside the text. What was understood as the para-
sitical nature of the performativity of language led not to a rejection of the
text in favor of physical embodiment but, rather, to a recognition of the text
as the primary site for the free play of signifiers. Thus, far from reconciling
Performance Studies and Philosophy, the various ways in which each field
conceptualized the common term of “performance” only served to widen
the gap between the living body and the written word.
Nevertheless, as these differing concepts of performance slowly over-
come their historical opposition, it appears that both ends of the polarized
spectrum are beginning to recognize their common ground and to dis-
avow presumptions of an intrinsic hostility between physicality and tex-
tuality. Interestingly, the “philosophical turn” within the field of Theater
and Performance Studies, as documented by Laura Cull, has found its
correlation in rising trends within philosophy, as the falling away of
transcendental metaphysics has led to performative articulations of ethical
stances, described by Simon Critchley as “the staking of a claim.”1 Jon
McKenzie goes so far as to say that the loss of grand narratives is affecting
not only specific disciplines, but the very architectonics of learning

1
Simon Critchley, “Tragedy as Philosophy” (Lecture, Tilburg Summer School, Tilburg, The
Netherlands, August 9, 2014).
 INTRODUCTION: GENEALOGIES OF PERFORMANCE PHILOSOPHY 5

institutions by throwing into question the authority of Plato’s Eidos, or the

primacy of ideas as constitutive of the act of thinking. While Martin
Puchner’s prediction that disciplinary distinctions are not at risk of dis-
appearing anytime soon is doubtless true, developments such as the
increasing acceptance of practice-based research and the transversal infil-
tration of smart media into the halls of academia indicate that traditional
boundaries are proving to be progressively (and indeed regressively)
permeable. An astonishing variety of disciplines steadily ascribe to creative
interpretations of reality, in which knowledge is a practice to be enacted
rather than an object to be acquired. In response to the mutual performa-
tivity of bodies and texts that these evolutions entail, the field of
Performance Philosophy is developing, devoted as it is to the inclusive
recognition of how performance thinks and how thinking performs.
As Performance Philosophy gains momentum throughout Europe and
North America, an increasing number of scholars are bringing their per-
spectives to bear upon innovative approaches to performance and thinking
practices. This volume offers new perspectives from some leading con-
temporary thinkers, several of whom are directly addressing the field for
the very first time. Companion texts engage with the featured texts,
critiquing and/or confirming various aspects while opening new consid-
erations. The interviews that conclude each section seek to demonstrate
the diverse ways in which the signature works of these thinkers have been
instrumental in developing reflection around the questions that
Performance Philosophy seeks to address while highlighting the perfor-
matic countenance of their work. Composed of a series of complementary
elements set in dialogue, this volume interacts with the publication format
itself in order to present texts by some of the current generation’s promi-
nent and emerging thinkers in a performative way.
Many of the enclosed contributions developed from a bilingual interna-
tional conference held at the University of Paris-Sorbonne on June 26–28,
2014, entitled “Theater, Performance, Philosophy: Crossings and Transfers
in Contemporary Anglo-American Thought,” co-organized by Julien Alliot,
Flore Garcin-Marrou, Liza Kharoubi, and Anna Street, with the constant
support of Elisabeth Angel-Perez. During these three days, several hundred
scholars from all over the world gathered to explore the increasingly porous
intersections between academic disciplines and performance practices, by
way of presentations, performances, and workshops on topics ranging from
ethics, gender studies, and economics to the digital revolution and social
activism. We would like to thank the numerous partners who made such an
6 A. STREET ET AL.

endeavor possible as well as the many participants who contributed to these

ongoing investigations. This volume contains only a fraction of the topics
addressed and is not an attempt to represent the many and varied perspec-
tives that enriched and enlivened the conversations.
The premise of the conference was to examine the crossings and
transfers between contemporary Anglo-American thought and what has
become widely known as “French Theory.” While most of these encoun-
ters have been staged on the other side of the Atlantic, the invitation to the
Sorbonne was in part (jokingly) designed to effectuate a “return” of
French Theory to France. Yet, how and why these geographical and
intellectual exchanges happened as they did, so well-outlined in François
Cusset’s book French Theory, preclude simple returns. Nonetheless, con-
sidering the strong presence of French thinkers in these investigations, it
comes as a surprise to many that the current crossings between Anglo-
American thought and French Theory have not particularly resonated with
French culture or its institutions. Indeed, although French thinkers highly
influenced what has been called the “theory explosion” in Anglophone
countries, the “performative turn” —taken, first, by theater and anthro-
pology departments, then by language and philosophy departments across
North America and England—has mostly served to further distance the
French and Anglophone traditions. While notions of performance have
met resistance from within theater departments in France, the stronger
opposition underlies broader social and economic traditions that associate
the wider implication of the term “performance” with rampant capitalism
and corporate dogma. In other words, if notions of performance are to be
understood—not merely as an experiment within artistic and academic prac-
tices, but as a new paradigm for changing geo-political cartographies—then
the stakes far exceed matters of disciplinary distinction. For example, perfor-
mance-based employment is often perceived as a potential infringement
upon deeply-held values such as job security and intellectual independence,
although this is rapidly evolving.
While no truly equivalent translation of the word “performance” exists
in the French language, this is beside the point for, as Derrida pointed out
in his exchange with Searle, French thought overflows with performative
characteristics and exuberant affinities to artistic and theatrical practices,
emphasizing medium over and above content. Thus, the reluctance is not
linguistic but infrastructural. A historical distrust of Anglo-American prac-
tices, both social and academic, extends beyond the use of the term
“performance” to include the reorganization of academic institutions
 INTRODUCTION: GENEALOGIES OF PERFORMANCE PHILOSOPHY 7

that was precisely driven by the phenomenon of French Theory abroad.

Ardently attached to their disciplinary distinctions, a certain caution for
the Anglo-American construction of multidisciplinary fields such as
Cultural Studies and Performance Studies has made many French aca-
demics hesitant to embrace these fields.
Thus, while a prolific interest by notable contemporary French thinkers in
the crossings between theater and philosophy has received wide acclaim,2 the
use of notions of performance as a new paradigm for knowledge practices
cannot be located in any general sense within French tradition or its current
academic trends. Nevertheless, exceptions are multiplying and interdisciplin-
ary crossovers are increasingly encouraged. Mindful of their crucial distinc-
tions, this volume wishes to emphasize the many ways in which the bringing
together of performance and philosophy could, in fact, serve to reconcile
Anglo-American and French critical practices. Reaching out across the
Continental and Atlantic divides, the field of Performance Philosophy not
only unites various disciplines but, perhaps more importantly, seeks to
challenge academic conventions across the map. This collection thus high-
lights the cultural specificities and institutional obstacles that make
Performance Philosophy a particularly unique and timely endeavor.
While the current volume does not presume to provide a comprehen-
sive overview of the many investigations within Performance Philosophy’s
growing network of scholars, it does attempt to put forth a kaleidoscopic
presentation of how some of the most well-known figures on the con-
temporary academic stage have influenced the course of these develop-
ments and are now responding to the new provocations presented by such
innovative approaches. Moreover, this volume hopes to contribute to the
broadening of discussions across the field. While “performance” has come
to refer to an ever-widening range of activities, both within and beyond
research situated in the domain of Performance Studies, for the most part,
reflections on philosophy as performance or performance as philosophy
under investigation within Performance Philosophy entail references to
theater, drama, art, film, aesthetics, music, and dance. Thus, while this
volume does not intentionally exclude any of those forms (and surely they
are far from being exhausted!), it strives to engage thinkers who are not
necessarily specialized in any of the above arts. As Laura Cull has

2
Alain Badiou, Hélène Cixous, Jean-Luc Nancy, and Jacques Rancière come to mind, among
others.
8 A. STREET ET AL.

repeatedly stressed, Performance Philosophy is not so much concerned

with the relation between philosophy and a specific form of performance
as with what it might mean “to philosophize and to perform beyond dis-
ciplinary boundaries.”3 By engaging reflections on the performative
dimensions of philosophy’s tools, methods, and mediums (rather than its
possible objects)—such as writing, discipline, plasticity, politics, margins,
and care—this volume seeks to illuminate the ways in which philosophy
performs in the gaps between thinking and acting.
As questions of disciplinary demarcations refer to notions of geogra-
phical origins, ruptures in institutional traditions are often the result of
international crossings. Regarding the evolutions within Anglo-American
institutions, the exchanges between Anglo-American and French thinking
practices that have brought performance and philosophy into conversation
are a particularly poignant case in point. Yet, as Judith Butler elucidates,
since the structural and relational aspects of our knowledge technologies
cannot be clearly isolated, the formal conventions we use to articulate
these relations precede and dominate our discussions. Therefore, charting
a cartography of knowledge geographies which allows their interlocutory
aspects to be more fully represented requires alternative modes of address.
Thus, the philosophical turn towards performance and the performative
turn towards philosophy are not merely about transgressing disciplinary
boundaries per se as they are about reinventing new mediums and genres
of thought—ones that attend to the intermedial and marginalized aspects
of our thinking practices.

Challenging origins as a legitimate source of authority, Roland Barthes,

among others, has proposed that the unity of a text lies in its destination,
rather than in its origin. In “The Philosophical Interview: Queer(y)ing
Performance,” Magnolia Pauker suggests that it is neither the beginning
nor end points that provide a cohesive force but, rather, the in between
aspects of discourse. Consequently, she advocates for the form of the
philosophical interview as a potentially “queer performance” whose

3
Laura Cull, “Performance Philosophy—Staging a New Field,” in Encounters in
Performance Philosophy, eds. Laura Cull and Alice Lagaay (London: Palgrave Macmillan,
2014), 33.
 INTRODUCTION: GENEALOGIES OF PERFORMANCE PHILOSOPHY 9

multidimensional textuality invites a conversation with those present and

yet to come. Displacing attention from origins and endpoints, the philo-
sophical interview emphasizes thinking as an interactive process in which
external influences blend and clash. The inherently philosophical affinities
of the interview have long been neglected, despite its apparent proximity
to the philosophical dialogue first championed by Plato. It is time, how-
ever, that such a practice command our renewed attention, as the act of
calling into question within the scene of a “live” performance resonates
with distinct affinities to Performance Philosophy. Moving between phi-
losophical form and performance, the interview stages this between as the
very scene, or gap, that brings philosophy and performance together.
How else to continue a conversation about performance than by com-
paring and contrasting it with writing? In Part II, “Between Writing and
Performance,” we attempt to pick up on the recurring feuds that contest
the centrality and necessity of writing to both philosophical and perfor-
mance endeavors. A major point of contention between literature and
theater departments, and then between theater and Performance Studies,
the question of writing also dominates philosophical investigations, from
Socrates (who didn’t write) to Derrida (who gave privileged status to
concepts of writing and the trace). If performance and philosophical
practices are to recognize their interdependence, then there must be
some degree of reconciliation—or positively-charged creative tension—
between writing and the other multifarious incarnations, modes, and
mediums of meaning.
In “Scenes of Instruction,” Martin Puchner addresses this very question
by retelling a story about how and why writing was invented, then by
tracing the paradoxical role played by writing in the creation of founda-
tional texts. With clear links to pedagogy, tensions between written texts
and live teaching performances can be observed at every major historical
shift in learning practices. Evoking scenes of learning from Plato to
Wittgenstein, Puchner reconsiders the historical structure of relations
between performative teaching and philosophical writing, emphasizing
their complex and oftentimes opposing interactions. He explains how,
despite recurring rebellions on the part of master teachers against writing,
the cycle of opposition and transformation invariably culminates in a
return to writing. His conclusions are particularly timely in the context
of contemporary pedagogical transformations—technological, economic,
and socio-political—that imperil both live teaching and writing. The
reflections proposed by “Scenes of Instruction” thus promise to assist in
10 A. STREET ET AL.

re-conceptualizing the relation between writing and performance, both

historically and in relation to vital conditions and issues of the present-day.
Critically responding to Puchner’s proposed narrative, in “Stories from
the In-Between: Performing Philosophy Alongside the Unknown,” Laura
Cull revisits the narrative of Plato’s Symposium so as to expose the bound-
aries within which traditional subjects are confined when it comes to
reading texts. She contends that a dynamic encounter between writing
and performance could lead to renewed pedagogical practice, where stu-
dents would experience the movement and strangeness involved in
encountering other ways and forms of thinking. Similarly, disciplines
such as philosophy and performance might be best understood not in
terms of their essence, but with regard to perpetual movement and
becoming in relation to their others. Cull ends by suggesting that privile-
ging plurality over clarity and process over result is indispensable to both
writing and performance as creative practices.
The physicality of the mutual imbrication of writing and performance is
explored further in the third chapter of Part II by Ramona Mosse, who
takes what she frames as the opportunity offered by Performance
Philosophy to rethink the discursive traditions wherein the written text is
implicitly associated with hegemonic authority while performance is nat-
uralized as inherently subversive. “From Corpse to Corpus: Excavating
Bodies of Theatrical Self-Reflection” proposes instead a reconceptualiza-
tion of the relations between writing and performance as a transformative
series of exchanges. Mosse does so by tracing the etymological entangle-
ments of theatrical corpses and the concept of corpus, invoking Jean-Luc
Nancy’s work on the intrinsic intertwining of body and thought. Detailing
a multi-layered understanding of the ways in which bodies of work and
bodies at work interact on the contemporary stage, this chapter effects a
structural shift in thinking wherein the corpse is approached not as a
climactic icon but, rather, as an interface marking a philosophical inquiry
into the status of corporeality in the theater. Bringing the corpse and
corpus together, Mosse pushes further in order to rethink not just the
status of this particular dialogue, but of the dialogue form itself, placing
this crucial question at center-stage.
Puchner returns in the section’s final chapter, “Performative
Disruptions and the Transformation of Writing,” to field questions
about writing’s essentiality to philosophy and performance before embark-
ing upon a mesmerizing account of how storytelling is transformed by
writing. He describes writing as encompassing a broad range of surfaces,
 INTRODUCTION: GENEALOGIES OF PERFORMANCE PHILOSOPHY 11

transpositions, and forms, regretting that notions of the trace have led
to a reductive understanding of writing as abstract or non-plastic.
While acknowledging the historical complicity between writing and
power—extending even to sacred authority, Puchner recognizes writ-
ing’s democratizing and disruptive force. In discussing writing’s
complicated relations to orality, performance, pedagogy, philosophy,
and the body, he warns against one-sided perspectives that lean toward
characterizing these creative tensions as either simply normative or
exclusively subversive. Advocating a return to considerations of origin,
Puchner suggests that clay’s many uses in ancient cultures already
evoke the inexhaustible wealth of writing’s unrealized potential.
Part III, “Between Discipline and Performance,” proposes reflections
on the practical implications of the ongoing paradigm shift from a socio-
symbolic order based on disciplinary mechanisms to one based on perfor-
mance. Extending beyond theorizations of theater or performance art,
performance practices now infiltrate the workplace, the economy, politics,
the media, and basically all other forms of social organization via new
technologies, efficiency principles, and visual viability. Attempts to remedi-
ate knowledge practices must therefore take these trends into considera-
tion, especially considering that the emergence of Performance Philosophy
is itself enabled by the development of performance paradigms and their
applications. The chapters in this section thus ask, “How can one be
mindful of site-specificity in a global world?” “How can the human face
circulate past walls of social, political, and economic demarcations?” “How
can play be reclaimed as a liberating force of positive freedom?” This large-
scale depiction of how Performance Philosophy’s basic vision corresponds
to the current evolution of social structures across the board goes beyond
heretofore articulated claims about the field’s potential relevance. Much
more than another interdisciplinary experiment within the confines of the
humanities, Performance Philosophy presents a challenge to knowledge
practices that disrupts the very articulations, assumptions, and mediums of
what constitutes the act of thinking within any one discipline.
Comparing the global network of university institutions to a broadcasting
network or worldly theater, in “Ouisconsin Eidos, Wisconsin Idea, and the
Closure of Ideation,” Jon McKenzie points out that, regardless of their site-
specificity, these institutions share the same foundational assumption that
thinking happens by way of ideas, projecting the world as the object of
universal knowledge. Yet, McKenzie claims that due to institutional crises,
the gradual replacement of books, writing, and discipline with smart media,
12 A. STREET ET AL.

plasticity, and performance responds to an urgency to realign knowledge

practices with new modes of thinking. The end of grand narratives signals a
massive onto-historical shift that combines the paradigm of repression with a
new paradigm of performance, stretching far beyond the university to
permeate all social systems—be they cultural, technological, or organiza-
tional. As the expanding use of smart media within these changing infra-
structures has the unprecedented capacity to further transform the very
mediums—and thus content—of information transmission and reception,
McKenzie advocates for its use in challenging previous assumptions that
thinking happens primarily through logocentric ideas.
Interacting with McKenzie’s text in “Inter Faces: Remapping Sights of
Knowledge,” Anna Street emphasizes the speculation at the conjunction of
economic patterns and knowledge practices. Indeed, by sharing the com-
mon principle of unfettered circulation, the free exchange of currencies and
ideas has always been instrumental in opening new sites/sights of
knowledge. Moreover, current speculative practices are particularly well-
symbolized by the transparency of interactive screens which have now
become the interfaces of knowledge production and circulation. With the
rise of the World Wide Web and smart media, our theaters of learning have
become places of seeing, where virtually anyone can instantly find themselves
face to face with previously invisible subjects of knowledge. As an alternative
to mapping the world by way of opaque boundaries, Street evokes the work
of French artist JR and his creative exposition of individual faces in promot-
ing a cartography that transgresses attempts to build barriers. Challenging
the demarcations between the seen and the unseen, Performance Philosophy
may serve as an interface for the inviable and the invisible in these speculative
times, working to turn spectacle and surveillance inside out.
Continuing the discussion, Natasha Lushetich explores the relation
between discipline and performance by way of negative and positive free-
dom in “Performative Disciplinarity in Alternate Reality Games from
Foucault to McKenzie and Beyond.” She studies the increasing prevalence
of mobile computing play as the perfect example of a performative dis-
ciplinary mechanism. Drawing on McKenzie’s articulation of the perfor-
mance principle and the new subjects of knowledge it produces, Lushetich
suggests that these reflections lead coherently to the claim that games—or
play—are the new order. With the commodity of experiences serving as
the new economic model, the rule of fair play takes the place of ancient
grand narratives as the current symbolic order, deploying performance
feedback evaluations as disciplinary mechanisms designed to motivate
 INTRODUCTION: GENEALOGIES OF PERFORMANCE PHILOSOPHY 13

ever-better performance ratings. Turning her attention to the implemen-

tation of alternative reality games within educational institutions,
Lushetich concludes by asking whether the seamless substitution of dis-
ciplinary with performative mechanisms indicates that the very concept of
freedom has itself become obsolete.
The interview with McKenzie that closes Part III questions traditional
forms of literacy by challenging their dependency upon the thinking sub-
ject as the ground of thought. Depicting philosophy as the great inter-
rupter, shifting the show from storytelling to arguments, “Philosophical
Interruptions and Post-Ideational Genres: Thinking Beyond Literacy”
accuses literacy of organizing the world into the logocentric zones of
colonialism. Promoting a new way of thinking via digitality, McKenzie
launches his intervention by creating non-linear, multi-media, and trans-
disciplinary modes of thought, reinscribing conceptual arguments outside
phonetic writing in surprisingly new architectures of ideation.
Part IV, “Between Plasticity and Performance,” proposes a revivifica-
tion of philosophy in the wake of Catherine Malabou’s reflections on the
loop of life. This section resonates with her larger work, in which Malabou
presents the concept of plasticity as a new philosophical and scientific
paradigm, claiming that the ancient models—of writing and the trace in
philosophy, and of the genetic code in science—are no longer pertinent to
thinking the modification or interruption of the systems that we currently
face. Malabou argues that while a philosophy of the trace allowed us to
develop reflections on repetition and difference (Derrida and Deleuze,
notably), it remains unable to accommodate occurrences of discontinuity,
such as explosions and degeneration. As for science, the genetic code
turned out to be inadequate in explaining the effects of the environment
or experience on the modifications and expressions of the epigenome. In
both instances, a new model of plasticity—flexible and modifiable, yet
resistant—provides a way to reconsider the loss of the trace and the
instability of discourse in favor of action. Shifting from the graphic to
the temporal, this new paradigm (which is itself dynamic and thus plastic)
resonates in multiple and diverse ways with the transformation of philo-
sophical discourse into performance. From genomes to technology, from
economic flexibility to brain plasticity all the way to the performing arts,
Malabou’s inquiries launch us on a voyage through the well-trodden
crossroads of ideas to the edge of established frontiers.
As she demonstrates the insufficiencies and impotentialities of traditional
philosophical discourses in “Power and Performance at Play: A Question of
14 A. STREET ET AL.

Life or Death,” Malabou advocates for a more plastic and energetic approach
to performance, foregrounded by such works as Nietzsche’s Ecce Homo.
Acknowledging that the sovereign power of life should not entail restricting
the self to preconceived and closed systems enables new, paradoxical mod-
alities of reading to emerge, as illustrated by Derrida’s observations on the
signature of a text being deferred to an addressee. In such a celebratory
rehabilitation of ambiguities and equivocalities, Malabou makes palpable
that the loop of life should be more centrifugal than centripetal, even as it
inaugurates a new type of philosophical critique and discourse that celebrates
contradictions and inconsistencies.
In his response to Malabou’s text—or rather “narrative”—John Ó
Maoilearca questions the exercise itself: the “game of positions,” of intel-
lectual postures and impostures. In “The Animal Way: On Malabou’s
Deconstructed Life,” he playfully entertains a series of possible responses
which would have corresponded to what has become the conventional
philosophical exercise, consisting of out-performing another thinker by
ferreting out his or her contradictions or failings. Yet, Ó Maoilearca
concludes that such a response would overlook the performative nature
of Malabou’s resistance to such posturing. Her demonstration already
follows a new approach to philosophy—one that privileges plasticity over
positioning. Malabou performs her thought in the between of positions, in
the spirit of “advocare,” “not to speak for the other, but to be called upon
to speak for the other.” This, Ó Maoilearca suggests, is the “animal way”
to which Malabou’s thought leads.
Such an “animal way” of philosophizing is explored further in Katie
Schaag’s chapter on neuroplasticity, “Biological Plasticity and
Performative Possibility in the Work of Catherine Malabou and
Curious.” Drawing on recent developments in neurosciences as well as
her own experience of “autobiology” workshops facilitated by the perfor-
mance company Curious, Schaag draws attention to some of the ways in
which neuroscience can both confirm and further nuance postmodern
theories of subjectivity as a process that is always in flux and unfolding.
By bringing together a scientific approach, political philosophy, and per-
formance studies, Schaag asks what these disciplines have to offer one
another, suggesting that they are, in fact, mutually enriching. So, while
the impact of neuroscience may already be perceived in philosophy—and
this is due in large part to Malabou’s work in the field—philosophical
inquiry has much to offer neuroscience in particular and scientific dis-
course more generally. In the wake of feminist science studies, Schaag
 INTRODUCTION: GENEALOGIES OF PERFORMANCE PHILOSOPHY 15

insists that we shift conventional perceptions of subjectivity so as to take

into account embodied experiences such as “gut feelings,” thereby locat-
ing thinking in the stomach and in a body. Transformations of and in the
body are enacted through performance, crafting new synaptic pathways in
the process. Ultimately, the innovative focus of this chapter leads to the
suggestion that performativity is not only a social production: it is a
biological affair.
An interview with Malabou, by Alliot and Street, closes Part IV. In
“Thresholds of Resistance: Between Plasticity and Flexibility,” Malabou
elaborates on the implications of a dynamic understanding of plasticity and
on what they could potentially mean for our traditional approaches to
subjectivity. Exposing biology to the symbolic enables care to arise as a
central concern in ways that resist concepts of writing, code, or trace. Far
from reproducing ideological paradigms and promoting efficiency, pro-
ductivity and flexibility, a plastic ethos encourages a heightened attention
to what lies beyond limits, opening the way for a liminal exploration of
differences.
Performance within and against power is Judith Butler’s legacy, not only
in academia, but in the world at large. Part V, “Between Politics and
Performance,” engages the conceptual revolution engendered by Butler’s
foundational work on the performativity of power in the constitution of
knowledge and, ultimately, subjectivity. Focusing on the complex interplay
between performativity and performance, the works featured in this section
each seek to cleave open opportunities for political agency. “Performance”
is understood here as both a mode and an optic for making bodies matter
even while inextricable from performativity as an inherently normative
force. This is certainly not to say that there is a gulf between performance
and performativity, or to claim that performance is inherently disruptive or
subversive. It is, rather, to read the interstices—the gaps—between perfor-
mance and performativity, to question and, indeed, query conventions
pertaining to the politics of locations as we seek to de-scribe the stakes
entailed in moving performance out of the proscenium and into the street.
In “When Gesture Becomes Event,” Butler brings her watershed work
on gender performativity into relation with contemporary concerns in
Performance Philosophy, politics, and theater through an extended dis-
cussion of “gesture.” Devoted to an analysis of “the relationship between
social embodiment and the speech act,” this chapter considers how per-
formance and performativity both converge and diverge. Engaging per-
formance as a practice that extends beyond the proscenium, Butler
16 A. STREET ET AL.

establishes the ways in which performance literally takes to the streets and
may be employed as a conceptual framework for thinking about identity
and behavior. Taking care to maintain distinctions between performance
studies and theater—also between performance and performativity—
Butler asks the reader to think about the ways in which these domains
overlap, offering critical methodologies for thinking about political
engagement in everyday life. Butler begins this work with a consideration
of gender performativity in order to think about the relationship between
linguistic and performance studies, locating the body as the interface for
both the speech act and embodied performance. Echoing her well-known
arguments that “performance” must replace “essence” as a way to under-
stand the development of gendered identities, Butler examines the role of
gesture in relation to language and performance by focusing on Walter
Benjamin’s reading of epic theater in Brecht. Establishing parallels in
terms of the consequential functions of gender performativity and gesture,
Butler suggests that the Benjaminian practice of stopping short in describ-
ing scenes of violence might be read as a productive loss, a decomposition
that may be potentially transformative, even producing a shift in relation
to tradition as her theory of gender performativity carries within it the
possibility of agency, which, though constricted, opens toward change.
In the section’s second chapter, Freddie Rokem’s “Framing Performance
through the Proscenium” investigates the transposition of the proscenium
onto what Butler refers to as the “surfaces of everyday life.” This shift,
Rokem explains, was effected by the disciplinary formation of Performance
Studies and its uptake of Austin’s provocative injunction deriding the poten-
tial impact of the staged performative utterance. Rokem supports Butler’s
strategic displacement of the proscenium and the ensuing political implica-
tions, acknowledging that much may have been gained through the disci-
plinary transposition of Performance Studies. However, Rokem contends
that, from the perspective of the theater, this movement brought about the
marginalization of crucial aspects—most notably, the suspension of belief—
offered by the theater, which the proscenium had created and safeguarded.
The third chapter in this section, “Subjects of Subversion: Rancière and
Butler on the Aesthetics of Politics,” returns to Butler’s work addressing the
relations among performance, performativity, and politics. Clare Woodford
considers Butler and Jacques Rancière as “theorists of subversion” by focus-
ing on the ways in which both philosophers remark upon the political power
of disruption that performance can effect. In Woodford’s estimation, while
Butler presents the conditions through which subversion may take place, her
 INTRODUCTION: GENEALOGIES OF PERFORMANCE PHILOSOPHY 17

focus remains primarily on performativity in relation to the production on

norms. Woodford thus turns to Rancière in order to “theorize subversion
more precisely.” Rather than framing these divergent analyses as antagonis-
tic, reading Butler and Rancière alongside one another and bringing their
concepts into conversation offers productive ways for thinking critically
about the role of performance in democratic struggle today. Thus,
Woodford suggests that both Rancière and Butler prompt us to think
about the value of performance as the basis through which change can
proceed not only in mass protest, but in everyday life.
The fourth and final text in this section, “The Scene of Philosophy,” is
an interview between Butler and Pauker focusing on the intersections
among philosophy, performativity, and performance. Butler brings her
conceptualization of performativity to bear upon the political dimensions
and disciplinary injunctions of Philosophy as an institutional practice in
response to the questions pertaining to longstanding traditions of philo-
sophical performance and the emerging field of Performance Philosophy.
Deftly refusing all commands to give a clear or final account of herself, or
indeed her own work, Butler performs the critical subject as one who
transgresses disciplinary boundaries and normative demands.
Part VI, “Beyond the Margins of Performance,” playfully and humor-
ously engages with philosophy as performance. Disturbing the relation of
relative authority between the text and its margins, this section reads the
marginalia—what Avital Ronell terms the “minoritized traces.” The politics
of performance are here expressed and felt through the formal articulations
of a philosophical scene which condones and codifies certain modes of
utterance and not others. In this section, we go not so much beyond as into
the margins in order to address the marginalization of what and who in
philosophy’s traditional disavowal of its own performance(s). Only then can
we move beyond, from disavowal to avowal of philosophical performance.
While each of the four chapters produces diverse trajectories of thought in
exploring this theme, the stage is most certainly set by Avital Ronell, whose
text issues a call to think about philosophy as performance—a call that is, in
fact, foundational to her philosophical oeuvre.
In the section’s opening salvo, “Ach! The History of a Complaint,”
Ronell traces genealogies of theater and philosophy, demonstrating that
the two have been, from the beginning, intimately intertwined—philoso-
phy and theater both begin with tragedy. With tragedy comes complaint
and here Ronell, through performance, explicitly links the “personal”
(which we might call the body of the performance artist) with the
18 A. STREET ET AL.

philosophical by issuing a series of complaints that are at once humorous

and deadly serious. The reader is taken on a journey of “false starts” that
begins with Anglo-America, warps through West Side Story and wends
into Heideggerian Stoss—all this in the first paragraph! Playfully (dis)
articulating the self, performing her philosopher-self, Ronell pushes us to
consider a diverse, even glittering, array of philosophical questions: What
is friendship anyway? Loss? Childhood? Writing? “I mean who would
bother to write?” Through these questions, issued as a tirade of com-
plaints, Ronell suggests that the Heideggerian Schreiben/Schrei—the cri/
écrit—may, in fact, be the foundation not only for writing, but for philo-
sophizing. In the final movements of the chapter, the performance of the
philosopher-self becomes a critical figuration as we come to realize that
Ronell has offered up, in this text, her own intellectual genealogy, a
genealogy founded upon taking seriously the complaints of philosophers,
artists, writers, and thinkers in their mutual struggles to survive.
This chapter may seem a tough act to follow and indeed it is. Yet, with
“Ach? Ah! Whatever…The Invention of ‘BOF-ology’,” Alice Lagaay takes
the cue brilliantly, countering the intensity of the complaint with a shrug of
the shoulders: “bof.” This French-style gesture becomes the occasion for
thinking through how to respond in the face of (Ronell’s) lamentation. How
to react to such a disturbance in the philosophical–formal realm? Perhaps,
Lagaay suggests, with a pause, a break, “constituting rather than filling a
gap.” Returning to the question of how philosophy begins, Lagaay asks that
we consider whether other experiences and emotions ought always to be
subordinated to the urgency of the complaint. What of wonder? Philosophy
begins in wonder and wonder should be, and is also, what inspires protest
and motivates change. But, then, “what lies between the sweetness of
wonder and the sourness of angry complaint?” Neutrality. “Bof.” Yet
beyond that, Lagaay discovers that in French sociology “bof” refers to the
post-1968 generation, leading her to consider the question of the “time-
liness” or “untimeliness” of complaints: “Is there such a thing as a universal
complaint?” If so, what would it be and how would it be articulated in such a
way as to be heard? These questions traverse an astonishing complex of
philosophical intersections in the second half of the twentieth century popu-
lated by thinkers such as Blanchot, Heidegger, Barthes, and Agamben,
opening towards a new realm of thought: “BOF-ology.”
In the section’s third chapter, “Performing Stupidity,” Sara Baranzoni
reads the philosopheme of the test through Ronell, Nietzsche, and Deleuze
as a resistant and experimental commitment to thought and (self-)diagnosis.
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Rowell
rows
royal
royalist
royalists
royally
Royalty
rubbed
rubber
rubbing
rubbish
rubies
ruble
rubles
Rud
rudder
rude
rudely
ruder
rudest
rudimentary
rudiments
RUDINI
Rudolf
Rudolph
Rue
ruffian
ruffianism
Ruffianly
ruffians
Rufus
rug
Rugby
rugged
ruin
ruined
ruining
ruinous
ruins
Ruis
Rule
ruled
ruler
rulers
rules
Ruling
rum
RUMANIA
Rumanian
Rumanians
rumbling
rumor
rumored
rumors
rumour
rumoured
rumours
run
Rundle
runners
Running
runs
rupee
rupees
rupture
rural
ruse
Ruses
rush
rushed
rushes
rushing
Ruskin
Russel
Russell
Russia
Russian
Russianize
Russianizing
Russians
Russias
Russification
Russify
Russifying
RUSSO
Rustem
rustic
rustle
Ruthenians
Rutherford
ruthless
ruthlessly
ruthlessness
Rutledge
ruts
Ryan
rye
Rykovskaya
RÖNTGEN
règles
régime
régulièrement
Ríos
rôle
Röntgen
s
Saatz
Saban