In my short manifesto I consider the interrelation of the emergence of performance philosophy and the simultaneous emergence of practice-based or artistic research in the humanities and the higher education in arts. The need for performing artists to have recourse to philosophical discourse is motivated by an attempt to establish their new political and academic role as artist-researchers, as well as to understand the nature and the significance of the knowledge they produce. Performance philosophy opens up a new academic practice (...) in which performance, performance makers and performers can make contact with philosophical thinking without the advocacy of intermediary disciplines and in equal dialogue with them, learn to think in their own terms, and become understood by others. It builds upon a collective attempt to give an answer to what performing arts and artists can do in an age where ‘performance’ has become a denominator of global capitalism. (shrink)

The paper consists of series of suggestions and historical references on the basis of which it would become possible to think and practice „spectator pedagogy” in performing arts. Contemporary performance practices can claim for new kind of political relevance by focusing on the way spectator´s corporeal experience changes during and through theatrical situation. Naive body produced by a performance is also most susceptible for thoroughgoing political and ecological change. This is the first outline by its author on this topic.

This article concerns the ontological status of the performing body. What if it were not considered derivative in relation to any kind of discursive construction or any kind of pre-existent materiality or force? What if it were taken as a starting point of our attempts to understand the linguistic and material aspects of our bodily co-existence? If so, our ideas of what a body can do while performing, and what it consists of, have to change radically. The anatomy of the (...) performing body is studied through a series of scenic experiments and practical examples, and the argumentation rests on the evidence thus provided. On the philosophical level the discussion focuses on ’object-oriented ontology’ and its representatives. The indications are that our understanding of objects, objectivity and things in general is based on our understanding of bodies as linguistic entities. Becoming a performing body means becoming a linguistic body, and vice versa. This does not take us back to ‘transcendentalism’ or ‘correlationism’, however. The equality of all things, claimed by ‘ooo’ proponents, can only be achieved via the medium of the performing body as an equalizing instance. (shrink)

Le but de cet article est de poser la question du rôle des jouets dans la pensée de Walter Benjamin et d’esquisser une réponse. Bien entendu, pareille tâche serait inutile si l’auteur lui-même, en son temps, s’était expliqué à ce sujet. Cela ne semble pas être le cas. Certes, l’intérêt de Benjamin pour la chose est connu et incontestable : il y revient fréquemment dans ses recensions, dans ses œuvres fragmentaires, dans ses pièces radiophoniques, de même que dans les nombreux (...) petits écrits po... (shrink)

In this article, I will open my artistic research process from the phenomenological point of view, by aiming at identifying its phenomenological aspects and potential. My presentation will proceed as a series of practical demonstrations, which enable us to perceive how an actor as a scenic performer conceives their corporeal practice and what kind of phenomena they produce, encounter and operates with. The experience and idea of corporality, rising from the scenic practices described, set new kind of challenges to the (...) phenomenology of embodiment. (shrink)

This article is an edited transcript of the roundtable entitled “What is Philo-Performance?” that took place in Paris on 28 June 2014, within the framework of the “Theatre, Performance, Philosophy International Conference: Crossings and Transfers in Anglo-American Thought”. The conference was organized by Julien Alliot, Flore Garcin-Marrou, Liza Kharoubi and Anna Street from the LAPS, a French research group on performance philosophy.