I also perceive the immune system as a conflictual model of potential democracy, or radical democracy in the terms of Chantal Mouffe where the – democratic process… cite! CONCLUSION This paper started by calling for a resumption of performed efficacy in applied theatre. To this end, two applications of activist performance have been exemplified: on the one hand, interventionist or intratactical performance and, on the other hand, instantiating or paratacical performance. All the examples I have given of these approaches enact affirmative stances that relate directly with power relations and bring about performative changes from within power structures or outside them. This is part of a longer trend that goes back to phenomena like feminist activists, ACT UP, culture jamming, the reclaim demonstrations and by the time of the build-up and launch of the Iraq war: Not In My Name. In terms of effect, the critical mass of discursive and attitudinal determinants are gradually having an impact on larger political shifts, almost like cultural memes to borrow a term from Dawkins and this is of course what Kershaw implied in his book on radical theatre in the 1990s. But over time, as things evidently are not really changing by either right wing or left wing governments in our neoliberal era, interesting tendencies of progressive performance have assumed inside and outside towards hegemonic structures and by that I don’t mean in relation to – military dictatorships or harsh conservative regimes, but representational democracies such as the US, Australia and Sweden! And this is where OWS and similar long-term and site-specific processes come in as a new, radically democratic mode of performance. However, as far as I can see there are also some fairly old aspects to these practices, where the emphasis lies on the side of post-production to speak with Bourriaud, and which have to do with the macro-political pull of the interventions and instantiations and, in particular, the gravitation towards social – movements. I think this can happen by innovative facilitation and curating of long-term arts projects that are situated in the node between higher education, the art world, creative industries and public life. And that means to mix the vital ingredients for a social movement with activist tactics.
I also perceive the immune system as a conflictual model of potential democracy, or radical democracy in the terms of Chantal Mouffe – where the democratic process… cite! CONCLUSION This paper started by calling for a resumption of performed efficacy in applied theatre. To this end, two applications of activist performance have been exemplified: on the one hand, interventionist or intratactical performance and, on the other hand, instantiating or paratacical performance. All the examples I have given of these approaches enact affirmative stances that relate directly with power relations and bring about performative changes from within power structures or outside them. This is part of a longer trend that goes back to phenomena like feminist activists, ACT UP, culture jamming, the reclaim demonstrations and by the time of the build-up and launch of the Iraq war: Not In My Name. In terms of effect, the critical mass of discursive and attitudinal determinants are gradually having an impact on larger political shifts, almost like cultural memes to borrow a term from Dawkins and this is of course what Kershaw implied in his book on radical theatre in the 1990s. But over time, as things evidently are not really changing by either right wing or left wing governments in our neoliberal era, interesting tendencies of progressive performance have assumed inside and outside towards hegemonic structures – and by that I don’t mean in relation to military dictatorships or harsh conservative regimes, but representational democracies such as the US, Australia and Sweden! And this is where OWS and similar long-term and site-specific processes come in as a new, radically democratic mode of performance. However, as far as I can see there are also some fairly old aspects to these practices, where the emphasis lies on the side of post-production to speak with Bourriaud, and which have to do with the macro-political pull of the interventions and instantiations – and, in particular, the gravitation towards social movements. I think this can happen by innovative facilitation and curating of long-term arts projects that are situated in the node between higher education, the art world, creative industries and public life. And that means to mix the vital ingredients for a social movement with activist tactics.
Interdisciplinary%20Strata%20of%20Applied%20Theatre%20and%20Activism.docx