Derivas de la teoría fenomenológica de la intercorporalidad en los estudios de performance

Abstract

Although Merleau-Ponty devotes important reflections on painting and only a few elaborations on dance, phenomenology has a fundamental influence on the practice and theory of performance art. Starting from the concept of embodiment, which in performance studies becomes equivalent to the notion of performance, the phenomenology of intercorporeality proposes a rediscovery of relational and reciprocal bodily perception in these artistic practices, mainly during the 1960s and 1970s, and later in the 1990s. This paper will articulate the conceptual apparatus of intercorporeality theory with performance studies to point out its limitations but also its significant projections. Ultimately, it will be concluded that such drifts motivate new critical and epistemological elaborations of performance as an intersubjective experience.