Is there a French Performative Turn ?
Résumé
During the twentieth century, many theatre academics theorized a “performative turn” which affected theatre
practice and theory: Erika Fischer-Lichte pointed two “performative turn” in Germany, first when the academic
Max Hermann broke away theatre studies from literature studies, then when works of art began to be considered
no longer as fixed and static but as sensitive events; Richard Schechner theorized the American “performative
turn” with the emergence of Performance Studies, which define performance as a social event that can affect
many fields, such as art or theatre.
But in France, during the twentieth century, even if links between theatre and performance art were abundant,
between irresistible attraction and fervent rejection, no theorization of performativity appeared neither in practice
nor in theory. It is only recently that performativity began to appear on the field of theatre studies in France,
particularly with Josette Féral’s writings. And it is only now that French theatre department opened themselves
to the performative issue.
This presentation will focus on the lack of theorization of a French performativity or “performative turn” in
theatre practice and studies and its consequences on French theatre studies, including doctoral research: is there a
French exception about performativity? Is it possible to study current theatre without working on performativity?
Are there other theories or concepts that replace performativity in French theatre studies? How can doctoral
students deal with current theatre practice without having performativity as a tool of studies? Based on my
doctoral experience inside French University, this presentation will try to give some answers to such a gap
between International Performance Studies including theatre studies and French theatre department.