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In its fundamental ontological sense, performance gives rise to the real. While representation is mimetic, performance is creative and ontogenetic. In representation, repetition gives birth to the same; in performance, each repetition enacts its own unique event. Performance suspends all pregurations and structured distinctions, to become the event wherein new ows of thought and sensation can emerge. Powers of Aection draws attention to the aective intensity bodies are for other bodies inside and outside a lm.
From this standpoint, performance involves a mobilization of aective cir- cuits that supersedes the viewers investment in the image through repre- sentational structures of belief and mimesis. As I argue more extensively in Chapter 1, both the notions of spectacle as originally theorized within Laura Mulveys account of the fetishization of the female body in the cinema and performativity as primarily understood by Judith Butlers account of identity as a performa- tive, imitative process remain strongly indebted to a representational par- adigm.
For Mulvey, the spectacle of the female body engaged in some form of literal or metaphorical performance functions as a momentary disrup- tion of narrative.
But this threat to the binding power of illusionist realism is normally canceled out by the lms own inertia toward subsuming spectacle within narrative.
Agambens denition of the lm image as a gesture, which I alluded to earlier, eloquently exposes the limits of Mulveys notion of spectacle: Film images are neither timeless postures. Agamben From the feminist psychoanalytic conceptualization of the female per- former as visual fetish it follows that the performers body is considered an exhaustively written body. The idea that everything, including natural processes, is constructed in discourse 8 is also central to Butlers theorization of the gender performa- tive.
As I show in Chapter 1, instead of attending to the positive force of dierence in repetition the uniqueness of each performative event Butler submits the repetitive gesture to a culturally predetermined phan- tasmatic ideal that reinstates a transcendental logic of sameness and a notion of desire based on lack and negativity. From the perspective of per- formance as aective event, I argue, the bodys expressions are not exhausted by the pressures to perform according to cultural, linguistic, or ideological requirements.
Powers of Aection reconsiders issues of spectacle and performativity from an aective, not merely visual, standpoint: spectacle as an aective- performative force that upsets the balance of power between performer and world, performer and audience.
For example, by no means irrelevant to my understanding of lms in this book, such psychoanalytic concepts as fetishism, sadomasochism, or narcissism will nonetheless be shown to undergo certain processes of deterritorializa- tion and reconguration.
Thus, as is especially the case in the lms by Sirk and Fassbinder examined here, the fetish may show a tendency toward becoming a distorting, de-forming force, sadomasochistic relations may provoke a shock to thought, and a subjective narcissism may easily turn into the lms subjectless self-aection. The binary opposition of body and language, body and mind, in the rep- resentational approach gives way to a far more complex and indeterminate relation between these terms when assessed from a performative perspec- tive not only because words and esh are continually overlapping elds, 9 but also because, as a number of both phenomenological and Deleuzian thinkers remind us, the esh possesses its own intelligence or logic, and, in this sense, it displays a certain indierence to semiosis Kirby In other words, as part of an intractable and wild nature, the body thinks without thinking.
It goes about the business of advancing its life- preserving goals with an exactitude and complexity that dees the egolog- ical systematicity of representational thought. For, as Vicki Kirby argues, the antihumanist tenets of Lacanian psychoanalysis may well acknowledge a subject caught in the vicissitudes of language and. The shift in Deleuzian thinking from an emphasis on subjectivity to the idea of subjectless subjectivities singular becomings disengaged from human egological agency both decenters and multiplies the possibilities of action and aection of the performative body.
Powers of Aection is thus driven by the pragmatic, ethical emphasis on what the body is capable of doing with, and in excess of, its cultural positioning. Such bodily ethics is committed to the principles of motion and exchange, an ontology of becoming rather than being. Deleuze and performance: the aective-expressive event In the last decades, lm and performance studies have intersected in two main areas: an increasing attention to performance as a synonym for acting, with an emphasis on the relation between theatre and lm performance, 10 and a focus on performativity as a way to account for the social construction of identity.
For the most part, scholars interested in acting have focused on delineating dramaturgical codes and actorly conventions, at times also cross- ing over into the cultural analysis of the phenomenon of the star and the star system. This latter interest connects in some ways with the emphasis on performativity.
The term performativity has been so widely applied in lm and cultural analysis as to become a practically empty designation. Performativity has come to be understood as the culturally dictated perfor- mance of identity based on the well-trodden binarisms of gender, race, class, and so on. Although these perspectives are necessary insofar as they address the cultural and social positionings of identity, they tend to pay little or no attention to the specic and unique bodily expressions that accompany per- formative acts, treating the bodys physicality as an abstract given.
For Deleuze, the function of thinking is to constantly reinvent the act of living. Given Deleuzes understanding of thinking as a never-ending process that forges connections among concepts without striving for a uni- fying systematicity, a fully coherent or nished theory of performance could hardly have been his aim. Yet Deleuzes work oers a wealth of con- ceptual tools that allow us to think through the function of performance in lm in productive and inventive ways.
Deleuzes interest here lies in the capacity of bodily surfaces to make us think of the unthought. In A Thousand Plateaus, Deleuze and Guattari echo Spinozas question in these terms: We know nothing about a body until we know what it can do, in other words, what its aects are, how they can or cannot enter into composition with other aects, with the aects of another body, either to destroy that body or to be destroyed by it, either to exchange actions and passions with it or to join with it in composing a more power- ful body.
Deleuze and Guattari In what follows I would like to suggest how Spinozas bodily ethics and Deleuzes references to the latter in his writings on cinema and elsewhere may be elaborated and expanded upon in order to make some crucial headway into the present conuence of performance and lm studies. Such conuence may be productively tapped into by looking at lm per- formance through the lens of Spinozas and Deleuzes concepts of aect and expression.
Spinoza denes a bodys essence as its degree of power, a certain capac- ity to be aected. Deleuze adopts Spinozas airmative idea of power as potentia the bodys power to do, to act, its capacity to mul- tiply connections that may be realized by a given body to varying degrees in dierent situations Massumi in Deleuze and Guattari xvii.
This capacity for existence expresses itself both in the bodys active power to aect, and in its passive power to be aected by, other bodies. Aects are thus the powers of the body. As Elizabeth Grosz has noted, a Spinozist ethics oers a radically dierent account of the body at the intersection of aect, expression, and power than the largely negative and deterministic account elaborated by psychoanalytically based theorists.
As she explains, alongside the dominant notions of desire as lack or negativity, there is a tradition, we can date from Spinoza, in which desire is primarily seen as production rather than as lack.
It cannot be identied with an object whose attain- ment provides satisfaction, but with processes that produce. For Spinoza. Spinozist desire gures in terms of capacities and abilities. And it is this notion of power as circumscription that lm and cultural analysis have thus far almost exclusively considered. The intertwining of these two forms of power runs parallel to the intertwining of the molar and the molecular modalities or dimensions of the body as theorized by Deleuze and Guattari.
Thus the body simultaneously gures as a normative struc- ture regulated by binary power relations on a molar plane of formed sub- jects and identities and as an excessive, destabilizing intensity responsive to its own forces and capacities on a molecular plane of impersonal and unformed becomings. For Spinoza, expression amounts to a radical way of being whereby Substance, attributes, and modes unfold or explicate their own existence in the world.
But existence neither precedes nor transcends its unfolding or expression; rather, existence is immanent to the expression- ist process of explication or unfolding itself. Both expression and performance are conceptually linked to a rhetoric of action, relation, and modication. As an expressive modality, performance is the bringing forth of the power of bodies, in sum, the mobilization of the bodys aects. Performance is the actualization of the bodys potential through specic thoughts, actions, displacements, combinations, realign- ments all of which can be seen as dierent degrees of intensity, distinct relations of movement and rest.
Before I suggest some ways of considering the mutual imbrication of aect and performance, I would like to comment on the important dis- tinction between aect and personal emotion or sentiment. Aect broadly refers to the bodys capacities to aect and be aected by other bodies, thereby implying an augmentation or diminution in the bodys capacity to act.
Aect precedes, sets the conditions for, and outlasts a particular human expression of emotion. While emotion refers to habitual, culturally coded, and localized aects such as a characters sadness or happiness , aect proper coincides with the actor and the lms openness to often anomalous, unexpected, and always expansive expressions of emotions Massumi b: But, no matter the dierentiation between emo- tions and aects, one should also keep in mind that in practice these two notions remain rather uidly connected.
For although the term emotion is generally preferred when describing psychologically motivated expres- sions of aect, emotion nonetheless actualizes and concretizes the way in which a body is sometimes aected by, or aects, another body.
Thus, I regard emotion and aect as connected and coterminous, involving varying degrees and distinctive modes in a continuum of aectively related concerns. From an expressionist standpoint, a theory of performance cannot dis- pense with a consideration of the relation, indeed the slippage, between notions of performance and aect.
Both these terms have by now become assimilated into the vocabulary and critical practice of lm and media scholars, yet their interdependence has hardly been given the attention it deserves. I would therefore like to oer some preliminary ideas as to how the conceptual proximity of these terms may be addressed.
I would dene aected bodies as bodies that are altered or displaced by virtue of addi- tions or subtractions of material forces. In the cinema, a privileged medium for the exhibition of bodies, whatever happens to a body becomes instantly available to perception.
Thus, the performing body presents itself as a shock wave of aect, the expression-event that makes aect a visible and palpable materiality. Put in a dierent way, performance involves the expression and perception of aect in the body.
As such, the performative cannot unfold without a certain advent of the new, a certain displacement or passage from one state to another.
Aect is pre- cisely such an impingement of the outside upon the inside, of the new and unpredictable upon the familiar. The close conceptual alliance between aect and performance thus insistently points in the direction of an aective-performative cinema. In an essay entitled He Stuttered, Deleuze mentions the words aective and performative in the same passage, albeit a few lines apart.
Without linking these terms in any explicit way, Deleuze instead leaves the connection open for us to make. In this passage, he refers to the stuttering of the writer as a performative activity insofar as the stuttering no longer aects preexisting words, but constitutes its own language system and an aective intensity insofar as we are faced with an aective and intensive language.
Here, movements and gestures can also become aective and intensive, rather than functional and extensive, through a performative act that deterritorializes the body and turns it into a body without organs.
As is well known to Deleuze scholars, Deleuze and Guattari found in dramatist Antonin Artauds idea of the body without organs an extremely resonant conceptual backbone for their own anti-Oedipal project. Thus, besides drawing substantially from Spinozas bodily ethics, the lm analyses featured in this book are crucially inspired by Artauds thinking of the body as a site of anarchic creativity, and by his vision of the theatre as a medium of bodily and aective immediacy.
Likewise, if we turn to the concrete kinetic activities of the body in performance, we can see a similar desubjectifying process under way. As Constantin Boundas has noted, following Bergson, Deleuze gives primacy to the event of movement itself rather than to the idea of a subject giving rise to this event: in the case of Bergson-Deleuze, movement is not sub- ordinate to a subject which performs it or undergoes it.
We are dealing here with a pre-human or inhuman world having a privilege over the human- all-too-human world of phenomenology Boundas Drawing upon Bergsons theses on movement in his rst cinema book, Deleuze explains that the moving body is not an a priori entity undergoing a series of static poses, the reconstruction of which into a continuous ow would only reairm the bodys stability and unity.
Through moving and gesturing processes, the body emerges as an assem- blage of virtual and actual expressions with the capacity to aect and to be aected by other bodies. In the chapter Cinema, Body and Brain, Thought of The Time-Image, Deleuze notes that body attitudes and postures in the cinema can bring about a more profound theatricalization than theatre itself The fascination Deleuze expresses in his cinema books with respect to the bodys capacity to force us to think what is concealed from thought is one that he also expresses, sometimes in even more detailed ways, when he discusses the theatre.
As Mohammad Kowsar explains, in his con- sideration of playwright Carmelo Benes production of Shakespeare-based Richard III, Deleuze speaks of Benes precise surgical amputation of char- acters his subtraction of superuous representational elements such as destiny, ctionality, psychological unity, and his submission of characters to a bodily process that has nothing to do with the birth of an ego Kowsar Here, the coherence of language and the power of the text are dis- mantled through disruptive operations such as aphasia, decimated dia- logues, and stammered speech Kowsar The purpose of such less than graceful choreography is to reveal process as it pertains to gesture by unveil[ing] a variety of impediments and interceptions, obstructions and collisions Kowsar Echoing his own comments in A Thousand Plateaus on the importance of qualita- tive speed in generating the bodys aective intensity, Deleuze also refers to the speed variation of the gesture as that which reveals the body in process characteristic of performance.
In variation, Deleuze says, what counts is the relationship of fastness and slowness, the modications of these relationships, in as much as they carry the gesture.
As we will see in Chapter 2, some crucial scenes in Fassbinders The Marriage of Maria Braun enact these Deleuzian ideas on an aective choreography of bodies with stunning exactitude. In these scenes, the smooth trajectory and consistent speed attributed to gesture and movement within the classical, representational paradigm give way to a spastic chore- ography that emphasizes collisions of bodies, kinetic and gestural inter- ruptions, and hightened contrasts between fast and slow motion.
In the face of this kind of aective performance, the spectators attention is held captive by the ceaseless alteration of the play of speeds that sets the gesture along a continuous line of ight. Key to such revalorization of the aective was Linda Williams work on melodrama as well as her rethinking of the cinema as an experience impact- ing the viewers body in tangible, material ways. Williams attention to the workings of emotion in the broad category of lms she identies with the Hollywood melodrama remains crucial in moving the center of the debate in lm studies from purely analytical, Brechtian concerns to including aective considerations that were earlier regarded as extraneous, or even obstructive, to the task of identifying the lms semiotic, psychoanalytic, or ideological structures.
In her redenition of the emotional, sensational force of the closing moments of Stella Dallas King Vidor, , for example, Williams attempts to take emotions from the level of oversimplication to the level of a complex dynamic where thought and emotion are indivisible: The understanding of melodrama has been impeded by the failure to acknowledge the complex tensions between dierent emotions as well as the relation of thought to emotion.
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Elena del Río - Deleuze and the Cinemas of Performance Powers of AffectionDeleuze and Cinemas
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