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(2019) Performance phenomenology, Dordrecht, Springer.

Performance criticism

live writing as phenomenological poiēsis

Diana Damian Martin

pp. 217-236

Diana Damian Martin proposes in this chapter that performance criticism operates as a kind of "phenomenological poesis"—an emergence that is itself a form of creative production. Damian Martin is navigating here the channels the interlink action, perception and thought, and she draws on Hannah Arendt's meditations on the very nature of appearance to aid in that navigation. Here, as elsewhere, the argument concerns ways of knowing that are always emergent, particularly as Damian Martin's chief focus is on "live writing"—criticism which responds to the performative event as it unfolds, and as such not only forms part of the performance it is "perceiving", but, in Damian Martin's words, "marks its own eventness".

Publication details

DOI: 10.1007/978-3-319-98059-1_11

Full citation:

Damian Martin, D. (2019)., Performance criticism: live writing as phenomenological poiēsis, in S. Grant, J. Mcneilly-Renaudie & M. Wagner (eds.), Performance phenomenology, Dordrecht, Springer, pp. 217-236.

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