Erika Fischer-Lichte and the performance aesthetic

Abstract

The aesthetics of the performative, referred to the theater from the so-called performative turn, requires an extensive examination in relation to the dramaturgical production in the history of the theater from the stage productions after the Greek classical theater, as an antecedent. For this, Fischer-Lichte (2011) in his text The aesthetics of the performative, set out to examine, from a critical perspective, the categories that make up the aesthetics of the performative, taking into account its foundations, concepts, the physical co-presence of actors and viewers, and aspects related to the performative production of materiality. Fischer-Lichte's proposal, regarding a modification of the performative concept, goes further by placing it from the philosophy of culture and the theory of culture since the end of the 20th century applied to the deconstruction of texts, which causes changes in the research related to performance. Its task is to update the scenic movement as a generation strategy, of the presence of actors or performers in front of the audience, causing an enchantment that originates as the core of self-referentiality, a revelation of the meaning of man and things.