Critical Performance Studies : A practical response to the celebration of new modes of work in performing arts

Abstract

In the article I discuss the work in and of theory, performance studies in particular, which is not sheltered from the general change of modes of work in performing arts. The reason for taking such a perspective lies in my claim that while ‘contemporary theory’ emerged in the social and intellectual context of the 1960s as a politically laden discourse, in the current context of cognitive capitalism and immaterial production more and more often appears as a cognitive commodity. In contemporary international Artworld, the use of theory is greatly expanding, from the academy to the independent scene. Curricula, bookstores, artists’ websites, programme booklets, festivals’ brochures and conversations among scholars, artists and curators all reverberate with theoretical references. On the other hand, many still resist theory, contesting its scientific and philosophical validity or relevance to artistic practice. I find it an intense ‘time of theory’ and therefore the right moment to reflect it critically. I start my discussion with a critical analysis of the transformation of ‘theoretical practice’ into ‘theoretical production’ in humanities, whereby it went through the process of decontextualisation. Speaking about performance studies in particular, I identify lack of methodology as a negative outcome of that process, which results in the situation where the notion of performance is used as metaphor and where theory looses its interpretative and interventive capability. My request for methodology doesn't have much to do with a ‘scientific puritanism’, but with my wish to challenge the state of political paralysis of performance studies. Therefore I try to outline a proposition for ‘critical performance studies’. I envisage it as a theoretical practice that associates interest in performance and critical social theory, asking both performance and performance theory sharp political questions, whereby rendering performing arts a relevant space for discussing current socio-political issues.