Revista Brasileira de Estudos da Presença
CALL FOR PAPERS
The Brazilian Journal on Presence Studies [Revista Brasileira de Estudos da Presença], an
open access, peer-reviewed, online journal that does not charge any submission or publication
fees, invites submissions of unpublished papers within the scope of the general topic
PERFORMANCE PHILOSOPHY before the deadline of April 30, 2019.
In recent years, Performance Studies scholars have moved beyond philosophy as a method to
be analytically employed to study performance. Rather, performance and philosophy – or
performing and philosophizing – are seen as inextricably linked. In both disciplines, the
question of the relationship to the real or to presence remains contested. This connection led not only to a major reconfiguration of the Performing Arts as a field of study, but also to the rise of a new paradigm. New perspectives are still taking hold, in which thought is necessarily “embodied”, that is, profoundly rooted in both the body and the world, and construed as inseparable from them. Thus, questions like “What is Performance?”; And “How does Performance think?”; and so forth, have emerged and defy us to think beyond the dichotomies and structures built in Modernity. These questions imply the birth of a brand-new field, not a new “philosophy of performance”, but rather something radically different; not a simple turn inside Performance Studies, but a new field of scholarship, artistic practice and investigation: Performance Philosophy; Philosophy as Performance; Performance as Philosophy.
Arts-based researchers are engaging with philosophy inside a new perspective that
characterizes a broader interdisciplinary phenomenon, coming from Philosophy but also from other disciplines. What seemed to be a “philosophical turn” inside the Performance Studies, grew into a new field, due to a myriad of new publications on the subject. On the other hand, this update took place through a shift towards the corporeal presence of the performer, insofar as Performance as a paradigm has also replaced the mise-en-scène of representation as a key metaphor. Theatre ceases to be a mirror of reality, just as the world can no longer be considered a metaphysical reflection of another order of reality. The change is, in fact, radical.
And if it seems that a philosophical turn took place in Theatre and Performance Studies, then
it is also that a performative turn is underway in Philosophy and in the Humanities in general.
In 2008, the Performance and Philosophy Working Group was created within Performance
Studies International to reflect and cultivate this growing dialogue, culminating in 2012 with
the creation of the professional association, Performance Philosophy: today an international
network of almost 3000 researchers and artists from over 56 different countries, which
produces biennial meetings and edits numerous publications. Although many issues remain (deliberately) open, addressed by different and contradictory traditions, there is a growing bibliography on the subject. Within this context, modern dichotomies between thought and body, language and action, word and gesture, lost their meaning insofar as the epistemological field of Theatre and Performance (and the Humanities in general) is being radically questioned. Over the last few years, we have been focussing this perspective with the rise of a new field of studies, Performance Philosophy, an interdisciplinary field of thought, creative processes and research, which addresses the relationship between Performance and Philosophy within a wide range of philosophical traditions and performance practices, including aspects of theatre, performing arts, dance, art and music. Indeed, it also includes studies of the performative aspects of life and human existence and of philosophy itself – seen as a specific “performance of thought”. The terms “Performance” and “Philosophy” establish a zone of friction within which each term needs to be repositioned. To think of the possible intersections between Philosophy and Performance is to go far beyond the restricted definitions of each of these terms, for a whole
new interdisciplinary field has been strengthened by the writings of forerunners such as Friedrich Nietzsche (who thinks the body as the place of the philosophical event) or Antonin Artaud (in suggesting that there are thoughts that cannot be expressed in words, and presenting us with the “still radical” idea that there is a type of language capable of finding expression only through gesture, not words). More recently, authors such as Gilles Deleuze (and his view of the “Theatre of Philosophy”) as well as Alain Badiou, who defends the independence of art as thought and language, and even François Laruelle’s non-standard philosophy, have helped us to think beyond the limits of what tradition has established for each term. In order to promote the problematization of relations between Performance & Philosophy, this thematic issue – the first one related to this emerging field to be published in Latin America – intends to offer an opportunity to explore this friction zone from different perspectives, through assorted articles from national and foreign authors.
Theoretical essays, articles from empirical and / or historical research on the relations between Performance and Philosophy can be submitted, in relation to one or more of the following topics:
– The history of the relationship between Philosophy and Performance – including
Theatre, Music, Dance, Performance Art etc.
– The turn towards Philosophy within Performance Studies.
– The emergence of Performance Philosophy as a new field.
– The ‘pre-history’ of Performance Philosophy / performance philosophy avant la
– A Performative Philosophy or a Philosophical Performance?
– Performance as a device / image of thought.
– Global understandings of the performance-philosophy relationship.
– How does Performance “think” or “philosophize”?
– Performance as “embodied thought”.
– The artist-philosopher and the research in arts.
– Performing as a way of philosophizing.
– Performance philosophy as method for art-based-research.
– Limits, specificities and the future of Performance Philosophy as a zone of friction
and emerging paradigm.
– Non-standard philosophies.
– The artist as a philosopher or the philosopher as an artist?
– Performance events as the philosophical engagement of bodies.
– Performance, Phenomenology and the hermeneutic circle.
– The role of performance in emerging theories such as affect, new materialism,
posthumanism and non-representation.
– The Theatre of Philosophy and the Metaphysics of theatre.
– Theatre, the crisis of representation and of metaphysics.
– Performance Philosophy and the Contemporary Scene.
– Performance Philosophy, subjectivity and formation.
– Performance Philosophy and the contemporary challenges in the art field.
The Brazilian Journal on Presence Studies accepts articles resulting from research
conceptually linked to the fields of philosophy, performance, Theatre, dance and other similar
languages, paying special attention to those using images and videos to develop their
reflections. It also accepts articles from interconnected, related fields, which establish a
dialogue with the Presence terms. Submissions should conform to the journal’s standards and
be posted directly into our submission system, where they will go through our general
evaluation process. In order to submit a paper for this call, it is essential to select the proper
section (Performance Philosophy). We remind you that the journal does not charge for the
submission or the publication and uses the double-blind peer-review system. The text can
be sent in Portuguese, Spanish, English or French and will be published in two languages.
Authors who send texts in Portuguese and Spanish (and those who are Portuguese speaking) will be asked to send a translation in English. The journal will provide the translation to Portuguese of those papers sent in English or French whose authors are native in these languages. Additional information can be found in our website, https://eur02.safelinks.protection.outlook.com/?url=www.seer.ufrgs.br%2Fpresenca&data=02%7C01%7CGlenn.Odom%40ROEHAMPTON.AC.UK%7Cd1e64800045d4125832b08d6b951edec%7C5fe650635c3747fbb4cce42659e607ed%7C0%7C1%7C636900158877518036&sdata=LhZPRCnePjsZfzmohqN75EvjTBfD6gPn%2FfMSzffEVeQ%3D&reserved=0<https://eur02.safelinks.protection.outlook.com/?url=http%3A%2F%2Fwww.seer.ufrgs.br%2Fpresenca&data=02%7C01%7CGlenn.Odom%40ROEHAMPTON.AC.UK%7Cd1e64800045d4125832b08d6b951edec%7C5fe650635c3747fbb4cce42659e607ed%7C0%7C1%7C636900158877518036&sdata=oSPrxdEeItdlMnv7lia1two3WWQHV2uAL%2F85xPOM0N4%3D&reserved=0>; our guidelines can be found in “Author Guidelines”.
Dr. Laura Cull Ó Maoilearca
Reader in Theatre & Performance
Director, Centre for Performance Philosophy
Department of Acting and Performance, GSA
University of Surrey