Differential presence : Deleuze and performance
This thesis argues that presence in the performing arts can be reconceived, via the philosophy of Gilles Deleuze, as an encounter with difference or âdifferential presenceâ which is variously defined as immanence, destratification, affect/becoming, and duration. These definitions are developed through a series of four analyses of exemplary performance practices: 1) The Living Theatre; 2) Antonin Artaud; 3) Allan Kaprow and 4) Goat Island. Chapter One recuperates the Living Theatre from a dominant narrative of âfailureâ, aided by the Deleuzian concepts of ontological participation, immanence, production/creation and âthe people to comeâ. Reframing the company as pioneers of methods such as audience participation and collective creation, the chapter argues that their theatrical ambition is irreducible to some simple pursuit of undifferentiated presence (as authenticity or communion). Chapter Two provides an exposition of three key concepts emerging in the encounter between Artaud and Deleuze: the body without organs, the theatre without organs, and the destratified voice. The chapter proposes that To have done with the judgment of god constitutes an instance of a theatre without organs that uses
Cull, Laura Katherine
theatre ; philosophy ; performance ; Deleuze, Gilles ; presence ; Artaud ; The Living Theatre ; Kaprow, Allan ; Goat Island ; difference
Differential presence : Deleuze and performance. This thesis argues that presence in the performing arts can be reconceived, via the philosophy of Gilles Deleuze, as an encounter with difference or âdifferential presenceâ which is variously defined as immanence, destratification, affect/becoming, and duration. These definitions are developed through a series of four analyses of exemplary performance practices: 1) The Living Theatre; 2) Antonin Artaud; 3) Allan Kaprow and 4) Goat Island. Chapter One recuperates the Living Theatre from a dominant narrative of âfailureâ, aided by the Deleuzian concepts of ontological participation, immanence, production/creation and âthe people to comeâ. Reframing the company as pioneers of methods such as audience participation and collective creation, the chapter argues that their theatrical ambition is irreducible to some simple pursuit of undifferentiated presence (as authenticity or communion). Chapter Two provides an exposition of three key concepts emerging in the encounter between Artaud and Deleuze: the body without organs, the theatre without organs, and the destratified voice. The chapter proposes that To have done with the judgment of god constitutes an instance of a theatre without organs that uses
differential presence deleuze performance argues presence perform art via philosophy gilles_deleuze encounter difference differential presence variously define immanence affect becoming duration definition develop series_four analysis exemplary performance practice living theatre goat island living theatre dominant narrative failure aid deleuzian concept ontological participation immanence production creation people come reframing company pioneer method audience participation collective creation argue theatrical ambition irreducible simple pursuit undifferentiated presence authenticity communion provide exposition three_key concept emerge encounter deleuze body without organ theatre without organ voice proposes judgment god constitute instance theatre without organ