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L'ecriture perfomative in “L’Avant-garde américaine et l’Europe. II. Impacts”

This article explores the central paradox that writing on performance tries to make present what no longer exists, given that it relies on evanescent gesture rather than text. It reaffirms Phelan’s view that writing on performance can be a performance in itself. Using reception theory, it follows Etchells’s view that critical writing on performance demands that writers reflect on their experience, making it a ‘writing of the I’. It argues that such writing is nonetheless not solipsistic, exploring a variety of dialogic writing strategies such as rearticulations of the writing voice, intertextuality, and mixed writing styles.