공연과 흄-들뢰즈의 경험론

Abstract

Hume - Deleuze''s empiricism only considers relation and passion as base elements of mental activity and never premises reason primarily, it makes an entirely positive image of human outside of the reason. This correspond to Lehman and Fischer-Lichte''s intention which tells that performance need to be justified physically and emotionally, not theoretically and intellectually. Discussing the performance as an event from Fischer-Lichte and the performance as a post drama play from Lehman through Hume-Deleuze''s empiricism, we want to suggest not to see the performance as a human rationality''s sensual manifestation of legalistic activity, purpose, intention, ideology and furthermore want to discuss that performance has subject-constructive powers and the power to becoming- change all the relations where the subject is included. Meanwhile the relation in performance contrast to the relation which Descarte''s moral made. On another side the relation in performance contrast to the relation made by human''s ordinary custom. The relation which crosses through the relation imposed by the ordinary custom and the moral relation forced to humans, which makes new relation by breaking the regulated relation and form and therefore has the power to newly compose the body and life is performance. This changes our physical-relation and has the power to change the life-relation where this physical-relation is included. So, creating new relations through performance is a movement of subjectivization and a practice of new life at the same time. Here, subjectivization is the opposite meaning to subjugation. Escape is always implied in relation already. This means that relation can not be completely locked up and it includes endless new relations inside. This new relation is always ready to be formed and free from fixation. Therefore performance is escaping from the fixation of identity and an aspect of subjugation. Making a new subject is the same as creating a new relation. If joining a performance is a process of subjectivization, we can say that this is ''becoming an aesthetic subject'' by an individual. This means making oneself and one''s life artistic by resisting the existing social codes. Here the word ''aesthetic'' means revealing that the given order and relation is fake and creating oneself an own order and relation. So the performance these days can be said as a practice of art regulating the arrangement of power relations. Performance is outside the nation and capital. Performance is creating new orders and relations by constantly refusing the aesthetic order which the nation and capital spread, so therefore performance is the opponent of nation and capital.