Provides a critical overview and a comprehensive framework for thinking about the performing arts
Examines the assumption that classical music provides the best model for thinking about artistic performance across the performing arts
Explores ways in which the ‘classical paradigm’ might be extended to other musical genres, to theatre, and to dance
Applies the thinking on performing arts to the issue of ‘performance art’
The peculiar mode of experience that a performance provokes – blurring distinctions between artist and audience, body and mind, art and life – is here framed as the breeding ground for a new way of understanding performing arts, and through them even wider social and cultural processes.
With an introduction by Marvin Carlson, this translation of the original Ästhetik des Performativen addresses key issues in performance art, experimental theatre and cultural performances to lay the ground for a new appreciation of the artistic event.