2022/07/13 by Zane Austin Willard · 1 voice
Arts and Humanities · Psychology · #Diversity and Impact of Dance #Theatre and Performance Studies #Visual Culture and Art Theory
paper · doi:10.1080/14794713.2022.2097982
openalex publication_date 2022/07/13 · openalex created_date 2025/10/10 · openalex updated_date 2025/11/06
I argue performance studies’ modernist ontological assumptions of fleeting are antithetical to contemporary performance art which relies on digital technology for mediated viewing processes. In this essay, I argue for a hybrid postmodern performance studies that allow for varying modes of experiencing performance art. I situate Allan Kaprow and Fluxus as the genealogical beginning of performance and argue that Peggy Phelan’s ontological assumptions of performance are inherently modernist. I then pose a postmodern approach to performance studies that embrace an embodiment of hybrid viewing methodologies of performance. Lastly, I use three examples as embodiments and symptomatic representations of this embodiment of a hybrid postmodern performance ontology.