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  • Cited by 8
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    This article has been cited by the following publications. This list is generated based on data provided by CrossRef.

    Alt, Suvi 2016. Darkness in a Blink of an Eye. Angelaki, Vol. 21, Issue. 2, p. 17.


    Harris, Geraldine 2016. Ceci n’est pas un argument appropré (this is not a proper argument). Studies in Theatre and Performance, Vol. 36, Issue. 1, p. 52.


    Stanger, Arabella 2016. Heterotopia as Choreography. Performance Research, Vol. 21, Issue. 3, p. 65.


    Olsson, Liselott Mariett Dahlberg, Gunilla and Theorell, Ebba 2015. Discplacing identity – placing aesthetics: early childhood literacy in a globalized world. Discourse: Studies in the Cultural Politics of Education, p. 1.


    Wiame, Aline 2015. Reading Deleuze and Guattari through Deligny’s theatres of subjectivity: Mapping, Thinking, Performing. Subjectivity,


    Cull, Laura 2014. Encounters in Performance Philosophy.


    Trezise, Bryoni 2014. Performing Feeling in Cultures of Memory.


    Waychoff, Brianne and Innes, Kari-Anne 2013. A Portrait ofExperiments in Écriture Féminine. Text and Performance Quarterly, Vol. 33, Issue. 4, p. 380.


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Performance as Philosophy: Responding to the Problem of ‘Application’

Abstract

This article begins from the premise that a ‘critical turning point’ has been reached in terms of the relationship between performance and philosophy. Theatre and performance scholars are becoming increasingly engaged in philosophical discourse and there are growing amounts of work that take philosophy – from the work of Plato to Heidegger and Deleuze – as their guiding methodology for performance analysis. However, this article argues that we need to go further in questioning how we use philosophy in relation to performance, and that theatre and performance scholarship should attempt to go beyond merely applying philosophical concepts to performance ‘examples’. One way to do this, the article suggests, is by questioning the very distinction between performance and philosophy, for instance by exploring the idea of performance as philosophy. The article concludes by drawing from the work of figures such as Allan Kaprow, Henri Bergson, François Laruelle and John Mullarkey to argue that philosophers and performance scholars alike might extend their conception of what counts as thinking to include not only activities like performance, but embodied experiences and material processes of all kinds.

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Theatre Research International
  • ISSN: 0307-8833
  • EISSN: 1474-0672
  • URL: /core/journals/theatre-research-international
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