Last weekend I attended a conference of philosophers, artists, and various people with ideas called “Performance Philosophy: Staging a New Field.” The aim was to mark out an area of concentration that could be distinguished from studies of performance arts, as well as from the focus on the performative within philosophy, but which would link the two and even take seriously the possibility that performance is a kind of philosophy, and philosophy is a kind of performance. As someone who works on the multiplicity of knowledge, and therefore non-discursive forms of knowing and thinking, this interests me, but really my connection to the topic goes further than that.
I’ve always thought the rise of theatre and philosophy around the same era in Ancient Greece was not coincidental – they are two sides of a coin, extroverted and introverted methods of human self-reflection. Life as a self-reflective creature is performative, and like the actor, we might accept a role, seek out a better one, sink our teeth into a part or ‘strut and fret the hour upon the stage’. The theatre mimics while philosophy wonders but both are triggered by and concerned with the duplicitous nature of the human experience, the ability to think one thing and do another (for instance), the separability of the mind.
As technology increases, the overlap is only more pervasive – documentaries, mockumentaries, reality television, and all forms of social media find new shades on the performative-introspective scale, and while the intended topic is obviously not always existential, it is a continuous undercurrent to any observation of life. The aesthetic has seemed like the modern world’s answer when faced with a search for meaning, but life itself as aesthetic brings us back full circle.
The conference included many points of view and approaches, and there was clearly interest from a range of different backgrounds. One plenary speaker warned against fusing philosophy and performance, suggesting that it is only in their distinction that we gain from the discussion. Others presented as practitioners with philosophical interests – a musician exploring time theory, a dancer interested in the body as a cartographic machine, a map of history – and part of the purpose of the conference was to work out how broad the area is, and whether it is distinct from, or perhaps more a bringing together of, various other fields already undertaken. In any case, it was certainly a place full of ideas and discussion, which is the key component of a good conference, and I look forward to seeing what comes next.