The performance art and the aesthetics in merleau-ponty:
disruption, frontier and expression
DOI:
https://doi.org/10.5965/2175234613292021119Keywords:
Performance Art. , Merleau-Ponty., Expression., Frontier. , Disruption.Abstract
This article aims to discuss the expressive phenomenon of Performance Art, based on the as-
sumptions of a theory of aesthetic expression present in Merleau-Ponty’s philosophy. At first the paper analyses the notions of rupture and frontier present in the Performance Art, in the light of the phenomenological method used by Merleau-Ponty, the épokhe; and then, it intends to approach the analysis of Merleau-Ponty’s aesthetic texts, from the perspective of a theory of style, and the expressive phenomenon present in the Performance Art. It is found that it is in the analysis of the creative power of re-creating the world, identified in Cézanne’s painting, language
and enigma of vision, that Merleau-Ponty develops an aesthetic theory of style. The notion of style emerges in his essays as the capacity of intertwining a personal dimension with a universal dimension, or even as an expression of being with the world. Performance Art as a frontier art, hy-
brid in languages and founded on the here and now of embodied embodiment, conceives in its activity the expressive phenomenon present in Merleau-Ponty’s theory of aesthetic expression.
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References
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