Abstract

In this article I introduce and summarize Alexander’s theory of social events as performance and ask what it offers performance studies. I critique the theory as being grounded in a theatre dramaturgy of actors, characters and scripts and suggest that while it appears to open new theoretical ground to deal with performances, it omits crucial features, namely embodiment, creativity and imagination. I distinguish between the cultural category performance, the theoretical category performance, and actual performance events, and I differentiate these from the theoretical notion of performativity. I go on to enquire into the relations between performance, performances, performativity and society