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Performance – Public – Politics Examining European Representative Democracy

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Performance – Public – Politics Examining European Representative Democracy PERFORMANCE – PUBLIc – POLITICS EXAMINING EUROPEAN REPRESENTATIVE DEMOCRACY Edited by Ana Vujanović with Livia Andrea Piazza 2018 2 PERFORMANCE – PUBLIc – POLITICS Examining European representative democracy IMPRESSUM PERFORMANCE – PUBLIc – POLITICS Examining European representative democracy Produced in collaboration with: Contributors to this issue: BUNKER, LJUBLJANA Edited Slomškova 7 by Ana Vujanovic SI - 1000 Ljubljana with Livia Andrea Piazza [email protected] http://www.bunker.si Authors: On behalf of the co-producer: Ana Vujanović, Bojana Cvejić, Bojana Kunst, Florian Nevenka Koprivšek Malzacher, Giulia Palladini, Goran Sergej Pristaš, Isabell Lorey, Livia Andrea Piazza, Silvia Bottiroli, Stina Nyberg, TKH (WALKING THEORY) Valeria Graziano theoretical-artistic platform 4 Kraljevića Marka Street (Magacin) Translators: 11000 Belgrade, Serbia Kelly Mulvaney, Matteo Camporesi, Žarko Cvejić [email protected] www.tkh-generator.net Copyediting and Proofreading: On behalf of the co-producer: William Wheeler Ana Vujanović Executive Producers and Coordinators: THEORY AT WORK Jelena Knežević, Marta Popivoda Dositejeva 47 11000 Belgrade, Serbia Graphic Design and Layout: On behalf of the co-producer: Katarina Popović Marta Popivoda This volume is realised as par t of Create to Connect project (www.createtoconnect.eu) Financial support: Culture Programme of the European Union, Ministry of Culture and Information of Republic of Serbia This project has been funded with support from the European Commission. This publication (communication) reflects the views only of the author, and the Commission cannot be responsible for any use which may be made of the information contained therein. 3 PERFORMANCE – PUBLIC – POLITICS Examining European representative democracy CONTENT Acknowledgements 5 INTRODUCTION 7 Ana Vujanović and Livia Andrea Piazza THINKING AROUND THE IDEA OF 11 OVERWHELMING IMAGINATION Livia Andrea Piazza AN UNDECIDABLE OBJECT HEADING 16 ELSEWHERE Silvia Bottiroli THE POWER OF THE PRESENTIST- 23 PERFORMATIVE: ON CURRENT DEMOCRACY MOVEMENTS Isabell Lorey ON THE POLITICALITY OF CONTEMPORARY 31 PERFORMANCE: SOME EUROPEAN CASES Ana Vujanović TOWARDS A THEORY OF PREFIGURATIVE 39 PRACTICES Valeria Graziano THE PROCEDURAL, THE PRESCRIPTIVE AND 49 THE PREFIGURATIVE PERFORMANCE: SOME REFLECTIONS ON THE QUESTION OF TIME OF POLITICAL ACTION Bojana Cvejić 4 PERFORMANCE – PUBLIc – POLITICS Examining European representative democracy PERFORMANCE, INSTITUTIONS AND 49 GATHERINGS: BETWEEN DEMOCRATIC AND TECHNOCRATIC EUROPEAN CULTURAL SpACE Bojana Kunst THEATRE AS ASSEMBLY: SpHERES OF RADICAL 67 IMAGINATION AND PRAGMATIC UTOPIAS Florian Malzacher THE VIEW FROM MATTER 77 Goran Sergej Pristaš ON COEXISTING, MENDING AND IMAGINING: 87 NOTES ON THE DOMESTICS OF PERFORMANCE Giulia Palladini A LIVE GATHERING DICTIONARY 9 Stina Nyberg 21 37 47 65 85 5 PERFORMANCE – PUBLIC – POLITICS Examining European representative democracy ACKNOWLEDGEMENTS This book project started with an invitation to reflect on the audience and the community. The invitation came from the European network of theatre venues, festivals and organisations Create to Connect. After several per- formance productions, festivals, publications and semi- nars, the partner organisations wanted to end the project with a more extensive publication and in 2016 invited me, Ana Vujanović, to edit it. The invitation was generous and I gladly accepted it, as, apart from the fact that I have been concerned with its focus, the invitation gave me freedom to define and refine the topic and choose collaborators and writers. Since at that time I was engaged with a pro- gramme fostering critical thinking on contemporary dance and performance – with the somewhat humorous title Critical practice (Made in Yugoslavia) – where I mentored several younger writers, critics and choreographers, I in- vited Livia Andrea Piazza to join me in editing the publi- cation and Stina Nyberg to contribute artist’s pages. My long-term collaborators Jelena Knežević from Walking Theory [TkH] and Marta Popivoda of Theory at Work [TnD] then joined us as producer and executive producer. After sketching the concept, Jelena, Livia and I made this pub- lication together – but not alone. This present publication came into existence thanks to the enthusiasm, patience and productive dialogues of invited authors, and thanks to the support of Alma R. Selimović, development manag- er of Bunker and leader of the Create to Connect network. Her respect for the opacity and slow pace of the process of developing a theoretical discourse has been precious. 6 PERFORMANCE – PUBLIc – POLITICS INTRODUCTION Examining European representative democracy Ana Vujanović and Livia Andrea Piazza 7 PERFORMANCE – PUBLIC – POLITICS Examining European representative democracy Neglecting that problem and counting on procedural AnA VujAnoVić And overlaps between performance and democratic politics – and thereby on political leniency towards claims, sub- LIVIA ANDREA PIAZZA jects, images, voices and social relations that derive from artistic performance – is a trap that a number of critical INTRODUCTION and engaged performance makers and theorists have failed to negotiate. That trap especially – and unfortu- nately – addresses an alternative and critical segment of the performing arts in the twentieth and early twenty-first centuries which sees the political power of performance To think the public and the community together in the in the direct interaction between, and live (co-)presence performing arts, especially in critical and sociopolitically of, people in public. For instance, ‘liveness’ is what Peggy concerned segments thereof, presupposes a direct in- Phelan sees, next to immateriality, as grounding perfor- teraction between the artists and the audience and usu- mance’s political potential within capitalism. There it op- ally implies a great investment of hope. However, while erates at a symbolic level as ‘a representation without reading and writing on topics such as performance and reproduction’ that by virtue of its immateriality and non- politics, the artist-citizen or participatory performance, mediation remains ‘unmarked’, escaping absorption into we have realised that there is a neglected procedural dif- the system (Phelan 1993: 146). Explicit examples of the ference between performance and politics today which idea that the political power of performance lies in its live obscures our understanding of their relations. Apart from social situation can be found in contemporary artivism, the long history of the idea of teatrum mundi, which deep- based on a spontaneous and direct method of political ly embeds theater in its social environment, a number of acting: one steps out onto the public stage as a responsi- twentieth-century authors explored the proximity of per- ble citizen, spotlights a particular social problem by aes- formance and politics. These voices come not only from thetic means and calls for public debate. the field of performing arts. Hannah Arendt is especially However, the problem we see here is that this basic mode important in this regard, owing to her explicit insistence of political practice doesn’t correspond to the social par- on the performative character of political practice and on adigm of (democratic) politics today, which is representa- the political dimension of artistic performance alike. In tive: it is mediated and mediatised to such a degree that Between Past and Future, she explains this proximity in it almost mutes citizens’ voices in the process of making the following way: decisions, while corresponding too much to the econom- ic paradigm of politics that revolves around immaterial In the performing arts (as distinguished from the crea- value. tive art of making), the accomplishment lies in the per- formance itself and not in an end product which outlasts How to understand and what to do with this kind of his- the activity that brought it into existence. … The per- torical asynchrony, between the live gathering of public as forming arts have indeed a strong affinity with politics. we know it from the performing arts and the one that used Performing artists – dancers, play-actors, musicians to characterize democratic politics, is the main question and the like – need an audience to show their virtuosity, we wish to raise with this book. Deleuze’s thoughts about just as acting men need the presence of others before the missing people from Cinema 2 further sharpened our whom they can appear; both need a publicly organised reflections since it seems that the missing people today space for their work, and both depend upon others for are citizens themselves: the performance itself. (Arendt 1961: 153–154) Art … must take part in this task: not that of address- However, although this oft-cited explanation is largely ing a people, which is presupposed already there, but used to analyse the sociopolitical relevance of the per- of contributing to the invention of a people. The mo- forming arts, we find it pretty ahistorical. It is ahistorical ment the master, or the colonizer, proclaims ‘There in its neglect of procedural differences between the politi- have never been people here’, the missing people are cal practice of Athenian democracy (direct participation a becoming, they invent themselves, in shanty towns of citizens) and the official political practice of modern and camps, or in ghettos, in new conditions of strug- Western society (representative system). That is to say, in gle to which a necessarily political
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