What is Performance Theory?

2 WHAT IS PERFORMANCE?

What is “to perform”?

In business, sports, and sex, “to perform” is to do something
up to a standard – to succeed, to excel. In the arts, “to
perform” is to put on a show, a play, a dance, a concert. In
everyday life, “to perform” is to show off, to go to extremes,
to underline an action for those who are watching. In the
twenty-first century, people as never before live by means of
performance.

“To perform” can also be understood in relation to:

Being
Doing
Showing doing
Explaining “showing doing.”

“Being” is existence itself. “Doing” is the activity of all
that exists, from quarks to sentient beings to supergalactic
strings. “Showing doing” is performing: pointing to, under-
lining, and displaying doing. “Explaining ‘showing doing'” is
performance studies.

It is very important to distinguish these categories from
each other. “Being” may be active or static, linear or circular,
expanding or contracting, material or spiritual. Being is
a philosophical category pointing to whatever people theorize
is the “ultimate reality.” “Doing” and “showing doing” are
actions. Doing and showing doing are always in flux, always
changing – reality as the pre-Socratic Greek philosopher
Heraclitus experienced it. Heraclitus aphorized this
perpetual flux: “No one can step twice into the same river,
nor touch mortal substance twice in the same condition”
(fragment 41 ). The fourth term, “explaining’ showing doing’ ,”
is a reflexive effort to comprehend the world of perfor-
mance and the world as performance. This comprehension is
usually the work of critics and scholars. But sometimes, in
Brechtian theatre where the actor steps outside the role to
comment on what the character is doing, and in critically
aware performance art such as Guillermo Gomez-Pena’s
and Coco Fusco’s Two Undiscovered Amerindians Visit the
West (1992), a performance is reflexive. I discuss this sort
of performance in Chapters 5, 6, and 8.

Heraclitus of Ephesus (c. 535–475 BCE): Greek philosopher
credited with the creation of the doctrine of “flux j” the theory of
impermanence and change, You can’t step into the same river twice
because the flowof the river iusuresthat .11ew water continually
replaces the old.

G6mez-Peiia(1955- ): Mexican-born bi-national
performance artist and author, . leader of La Pocha N ostra. His works
indudehothwritingsWarriorfor Gringosuoika.(1993), The New World
Border (1996), Danaeroqs Border Crossers(2000), and Ethno:- Techno
Writinas on Performance. ACtivism, and Pedd809J (200S •. with Elaine Pena)
– and performances; &rderBrujo (1990),EINc!ftazeca (1994), Border
StaSis (1998), Brownout:·. Border Pulp Stories (;WO 1 ), and Mexterminator
vsthe GlobalPredator (2005).

Coco Fusco (1960-): .Cuban.;.born interdisciplinary artist based
in New York City .. · Collabotated with Guillermo Gomez-Peiia on
the performance . Two Undiscovered Alnerindians Visit the West (1992).
Otherperformances include: Doloresfiom lOb to 22h (2002, with
Ricardo Dominguez) and The Incredible Disappearina Woman. (2003,
with Ric