The performance studies paradigm

Abstract

The aim of this paper is to show how performance can be considered as a paradigmatic practice significant for understanding of the contemporary art not only in the field of theater and performance art, but also in all other artistic and cultural practices as well as in a number of non-artistic practices. I will develop my argument based on Richard Schechner’s understanding of performance as a collection of interpretative tools for studying the broad spectrum of social phenomena, where the objects of research don’t have to be clarified according to the medium, nor bound to specific disciplines, and on Jon Mckenzie’s understanding of performance as ontohistoric formation of knowledge and power, where performance is established as a general paradigm of contemporary society. In the central discussion I will refer to the significance of the concept of liminality.