Abstract
In Athenian classical theater (especially in Dionysian choruses; the tragic in Aeschylus, Sophocles, or Euripides; the satyric in Euripides’Cyclops; or the carnivalesque in Aristophanes), aesthetics, ethics, and politics intermingle in kinesthetic, musical, and textual pragmatics. This paper questions the reference to classical performativity (especially the gendered bodies it stages) in contemporary performances, from Olivier Dubois’Tragédie(2012) (and the committed nudity it enacts) to Femen's sextremist protests and Trajal Harrell'sAntigone Sr. / Paris is Burning at The Judson Church (L) (2012). These issues are central to the philosophy of performance, from F. Nietzsche'sThe Birth of Tragedy(1872) to J. Butler's and A. Athanassiou'sDispossession: The Performative in the Political(2013).
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