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This work investigates performance as an embodied
practice. It draws on theories of embodiment that
act as a catalyst for thinking about performance, and
thus provide an interdisciplinary framework for
conceptualising the body in performance. I explore a
discourse that situates performance itself within the
liminal, as an in-between condition, as something
that does not fit in. I reflect on performances,
ranging from music to cosmetic surgery, and I
highlight the in-between conditions and the
marginalised space that in my view posits performance
as multivalent, multifaceted and full of potential.
This line of enquiry is informed by my view of the
body as a site of change, discord and ambiguity; what
one can refer to as the threshold condition, or what
Victor Turner calls the state of betwixt and
between . I take the body as a starting point for
this discussion, as I consider the body as a vanguard
to providing a different view to the majority of
current music and performance writings. I subscribe
to the view that the multi-faceted and, at times,
highly controversial debate that has been applied to
the body, has not been equivalently explored in the
discussion of performance.
practice. It draws on theories of embodiment that
act as a catalyst for thinking about performance, and
thus provide an interdisciplinary framework for
conceptualising the body in performance. I explore a
discourse that situates performance itself within the
liminal, as an in-between condition, as something
that does not fit in. I reflect on performances,
ranging from music to cosmetic surgery, and I
highlight the in-between conditions and the
marginalised space that in my view posits performance
as multivalent, multifaceted and full of potential.
This line of enquiry is informed by my view of the
body as a site of change, discord and ambiguity; what
one can refer to as the threshold condition, or what
Victor Turner calls the state of betwixt and
between . I take the body as a starting point for
this discussion, as I consider the body as a vanguard
to providing a different view to the majority of
current music and performance writings. I subscribe
to the view that the multi-faceted and, at times,
highly controversial debate that has been applied to
the body, has not been equivalently explored in the
discussion of performance.