Zum Theater des Widerhalls
Edited By Veronika Darian, Micha Braun, Jeanne Bindernagel and Miroslaw Kocur
I’m a writer without a story—someone who chronicles, bit by bit, his own intellectual adventure, which is articulated across a collection of multifarious objects. It’s in the capriciousness of my own choices and preferences that I’ve found my universe, my procedures, my way of being—my happiness.1
My Voice—My Body
The text displayed in front of you is the basis for my work in the context of the Echo project.2 My starting thesis is: the theory is an echo (reflection, response, reaction) to the artwork in performance art, and every performance is an echo of theory in relation to art. Theory and art enter into a relationship through the performer’s body. I am working here in the theoretical and the historical sense with an echo triangle which is constructed by artwork—body—theory.
I am going to try, in front of you and on my own body, to mirror, index, describe, and interpret the uncertain but essential relationship between ›art‹ (literature, music, painting, theatre, opera, film) and theory—here and now. In fact, as theory I am going to mark different semantical effects and phenomena inherent in the procedure of creating (making, manufacturing, producing) art, of delaying the artwork’s effects in speech (parole) and writing (écriture), and of constructing a jargon inside art worlds. Within these, I would subsume the interpolation of ← 175 | 176 → voices of criticism into sensually anticipated figures of art, the bordering identities of different ›speeches‹ within...
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