Introduction: Theatrical Metaphors, Textile Philosophies

  • Teemu Paavolainen
Part of the Performance Philosophy book series (PPH)


The introductory chapter outlines theatricality and performativity by way of their tensions and paradoxes—between seeing and doing, novelty and normativity—and argues for a more perspectival approach with notions of ‘texture,’ derived from anthropologist Tim Ingold and philosopher Stephen Pepper. After a section on ‘metaphor,’ those of texture and weaving are further elaborated in three extensive segments, beginning from their prior usage in dramaturgy (Eugenio Barba) and philosophy (feminism, Pepper, ecology). The third and most important section introduces Ingold’s meshwork as a key figure of plural performative becoming: the interweaving of lines, as opposed to the network as a key figure of theatrical detachment or abstraction—the connecting of points or objects into which the meshwork is simplified when we optically ‘zoom out’ from its haptic engagement. In the end, the ensuing chapters are introduced, themselves addressed as specific ‘threads’ within the book’s overall texture.


  1. Austin, J.L. 1962. How to Do Things with Words: The William James Lectures Delivered at Harvard University in 1955. Ed. J.O. Urmson. Oxford: Clarendon.Google Scholar
  2. Bala, Sruti. 2013. The Entangled Vocabulary of Performance. Rupkatha Journal V (2): 12–21. Scholar
  3. Balme, Christopher B. 2007. Pacific Performances: Theatricality and Cross-Cultural Encounter in the South Seas. Basingstoke and New York: Palgrave Macmillan.CrossRefGoogle Scholar
  4. Barad, Karen. 2007. Meeting the Universe Halfway: Quantum Physics and the Entanglement of Matter and Meaning. Durham and London: Duke University Press.CrossRefGoogle Scholar
  5. Barba, Eugenio. 1985. The Nature of Dramaturgy: Describing Actions at Work. New Theatre Quarterly 1 (1): 75–78.CrossRefGoogle Scholar
  6. ———. 2010. On Directing and Dramaturgy: Burning the House. London and New York: Routledge.Google Scholar
  7. Barish, Jonas. 1981. The Antitheatrical Prejudice. Berkeley: University of California Press.Google Scholar
  8. Barthes, Roland. 1972. Baudelaire’s Theater. In Critical Essays, Trans. Richard Howard, 25–31. Evanston, IL: Northwestern University Press. First Published 1954.Google Scholar
  9. Bell, Vikki. 2007. Culture and Performance: The Challenge of Ethics, Politics and Feminist Theory. New York: Berg.Google Scholar
  10. Bottoms, Stephen J. 2003. The Efficacy/Effeminacy Braid: Unpicking the Performance Studies/Theatre Studies Dichotomy. Theatre Topics 13 (2): 173–187.CrossRefGoogle Scholar
  11. Brewer, Mária Minich. 1985. Performing Theory. Theatre Journal 37 (1): 13–30.CrossRefGoogle Scholar
  12. Burke, Kenneth. 1969. A Grammar of Motives. Berkeley: University of California Press.Google Scholar
  13. Burns, Elizabeth. 1972. Theatricality: A Study of Convention in the Theatre and in Social Life. London: Longman.Google Scholar
  14. Butler, Judith. 1987. Subjects of Desire: Hegelian Reflections in Twentieth-Century France. New York: Columbia University Press.Google Scholar
  15. ———. 1988. Performative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory. Theatre Journal 40 (4): 519–531.CrossRefGoogle Scholar
  16. ———. 1993. Bodies That Matter: On the Discursive Limits of “Sex”. London and New York: Routledge.Google Scholar
  17. ———. 2015. Notes Toward a Performative Theory of Assembly. Cambridge, MA: Harvard University Press.CrossRefGoogle Scholar
  18. Buttimer, Anne. 1993. Geography and the Human Spirit. Baltimore, MD: Johns Hopkins University Press.Google Scholar
  19. Carlson, Marvin. 2002. The Resistance to Theatricality. SubStance 31 (2–3): 238–250.CrossRefGoogle Scholar
  20. ———. 2004. Performance: A Critical Introduction. 2nd ed. New York and London: Routledge.Google Scholar
  21. Collins, Katie. 2016. The Materiality of Research: ‘Woven into the Fabric of the Text: Subversive Material Metaphors in Academic Writing’. The LSE Review of Books.
  22. Cull, Laura. 2013. Theatres of Immanence: Deleuze and the Ethics of Performance. Basingstoke: Palgrave Macmillan.CrossRefGoogle Scholar
  23. Culler, Jonathan. 1981. Convention and Meaning: Derrida and Austin. New Literary History 13 (1): 15–30.CrossRefGoogle Scholar
  24. ———. 2000. Philosophy and Literature: The Fortunes of the Performative. Poetics Today 21 (3): 503–519.CrossRefGoogle Scholar
  25. Deleuze, Gilles, and Félix Guattari. 1987. A Thousand Plateaus: Capitalism and Schizophrenia. Trans. Brian Massumi. Minneapolis, MN: University of Minnesota Press.Google Scholar
  26. Derrida, Jacques. 1988. Limited Inc. Trans. Samuel Weber. Evanston, IL: Northwestern University Press.Google Scholar
  27. Diamond, Elin, ed. 1996. Performance and Cultural Politics. New York: Routledge.Google Scholar
  28. Féral, Josette, ed. 1982. Performance, or the Subversion of Theatricality. Modern Drama 25 (1): 154–181.Google Scholar
  29. ———, ed. 2002. Theatricality. Special Issue. SubStance 31 (2–3): 3–318.Google Scholar
  30. Fischer-Lichte, Erika, ed. 1995. Theatricality: A Key Concept in Theatre and Cultural Studies. Special Issue. Theatre Research International 20 (2): 85–118.Google Scholar
  31. ———. 2014. Introduction. In The Politics of Interweaving Performance Cultures: Beyond Postcolonialism, ed. Erika Fischer-Lichte, Torsten Jost, and Saskya Iris Jain, 1–21. London and New York: Routledge.Google Scholar
  32. Gherardi, Silvia. 2006. Organizational Knowledge: The Texture of Workplace Learning. Malden, MA: Blackwell.Google Scholar
  33. Gibson, James J. 1986. The Ecological Approach to Visual Perception. Hillsdale, NJ: Lawrence Erlbaum. First Published 1979.Google Scholar
  34. Gillespie, Diane. 1992. The Mind’s We: Contextualism in Cognitive Psychology. Carbondale: Southern Illinois University Press.Google Scholar
  35. Glass, Michael R., and Reuben Rose-Redwood, eds. 2014. Performativity, Politics, and the Production of Social Space. New York: Routledge.Google Scholar
  36. Harper, Richard. 2010. Texture: Human Expression in the Age of Communications Overload. Cambridge, MA: The MIT Press.Google Scholar
  37. Hartoonian, Gevork. 2006. Crisis of the Object: The Architecture of Theatricality. New York: Routledge.Google Scholar
  38. Hayes, Steven C., Linda J. Hayes, Hayne W. Reese, and Theodore R. Sarbin, eds. 1993. Varieties of Scientific Contextualism. Reno, NV: Context Press.Google Scholar
  39. Hemmings, Jessica, ed. 2012. The Textile Reader. New York: Berg.Google Scholar
  40. Ingold, Tim. 2000. The Perception of the Environment: Essays in Livelihood, Dwelling and Skill. London and New York: Routledge.CrossRefGoogle Scholar
  41. ———. 2007. Lines: A Brief History. London and New York: Routledge.Google Scholar
  42. ———. 2011a. Being Alive: Essays on Movement, Knowledge and Description. Abingdon: Routledge.Google Scholar
  43. ———. 2011b. Introduction. In Redrawing Anthropology: Materials, Movements, Lines, ed. Tim Ingold, 1–20. Farnham: Ashgate.Google Scholar
  44. ———. 2013. Making: Anthropology, Archaeology, Art and Architecture. London and New York: Routledge.Google Scholar
  45. ———. 2015. The Life of Lines. London and New York: Routledge.Google Scholar
  46. Jackson, Shannon. 2004. Professing Performance: Theatre in the Academy from Philology to Performativity. New York: Cambridge University Press.CrossRefGoogle Scholar
  47. Knappett, Carl. 2011. An Archaeology of Interaction: Network Perspectives on Material Culture and Society. Oxford: Oxford University Press.CrossRefGoogle Scholar
  48. Krauss, Rosalind. 1987. Theories of Art After Minimalism and Pop. In Discussions in Contemporary Culture 1, ed. Hal Foster, 59–64. Seattle: Dia Art Foundation.Google Scholar
  49. Lakoff, George, and Mark Johnson. 1980. Metaphors We Live By. Chicago and London: University of Chicago Press.Google Scholar
  50. Law, John. 1999. After ANT: Complexity, Naming and Topology. In Actor Network Theory and After, ed. John Law and John Hassard, 1–14. Oxford: Blackwell.Google Scholar
  51. Loiselle, André, and Jeremy Maron, eds. 2012. Stages of Reality: Theatricality in Cinema. Toronto: University of Toronto Press.Google Scholar
  52. Loxley, James. 2007. Performativity. London and New York: Routledge.CrossRefGoogle Scholar
  53. McConachie, Bruce. 2003. American Theater in the Culture of the Cold War: Producing and Contesting Containment, 1947–1962. Iowa City: University of Iowa Press.Google Scholar
  54. McGillivray, Glen. 2004. Theatricality: A Critical Genealogy. PhD Diss., University of Sydney.
  55. ———. 2008. Globing the Globe: September 11 and Theatrical Metaphor. Theory & Event 11 (4): 10–21.Google Scholar
  56. McKenzie, Jon. 2001. Perform or Else: From Discipline to Performance. New York and London: Routledge.CrossRefGoogle Scholar
  57. Montelle, Yann-Pierre. 2009. Palaeoperformance: The Emergence of Theatricality as Social Practice. London: Seagull.Google Scholar
  58. Morgan, Gareth. 2006. Images of Organization. Thousand Oaks: Sage.Google Scholar
  59. Morris, Edward K. 1997. Some Reflections on Contextualism, Mechanism, and Behavior Analysis. Psychological Record 47 (4): 529–542.CrossRefGoogle Scholar
  60. Morton, Timothy. 2010. The Ecological Thought. Cambridge, MA: Harvard University Press.Google Scholar
  61. Nietzsche, Friedrich. 1967. On the Genealogy of Morals. In On the Genealogy of Morals and Ecce Homo, 1–198. Trans. Walter Kaufmann. New York: Vintage. First Published 1887.Google Scholar
  62. Norwick, Stephen A. 2006. The History of Metaphors of Nature. Volume I: Science and Literature from Homer to Al Gore. Lewiston: Edwin Mellen.Google Scholar
  63. Paasonen, Susanna. 2005. Figures of Fantasy: Internet, Women, and Cyberdiscourse. New York: Peter Lang.Google Scholar
  64. Paavolainen, Teemu. 2012. Theatre/Ecology/Cognition: Theorizing Performer-Object Interaction in Grotowski, Kantor, and Meyerhold. New York: Palgrave Macmillan.CrossRefGoogle Scholar
  65. ———. 2015. Meaning in the Weaving: Mapping and Texture as Figures of Spatiality and Eventness. Mapping Theatre: Nordic Theatre Studies 27 (2): 10–21.Google Scholar
  66. Parker, Rozsika. 2010. The Subversive Stitch: Embroidery and the Making of the Feminine. New ed. London: I.B. Tauris. First Published 1996.Google Scholar
  67. Pepper, Stephen C. 1963. The Basis of Criticism in the Arts. Cambridge, MA: Harvard University Press. First Published 1945.Google Scholar
  68. ———. 1970. Aesthetic Quality: A Contextualistic Theory of Beauty. Westport, CT: Greenwood. First Published 1937.Google Scholar
  69. ———. 1984. World Hypotheses: A Study in Evidence. Berkeley, CA: University of California Press. First Published 1942.Google Scholar
  70. Phelan, Peggy. 1993. Unmarked: The Politics of Performance. London and New York: Routledge.CrossRefGoogle Scholar
  71. Postlewait, Thomas, and Tracy C. Davis. 2003. Introduction. In Theatricality, ed. Tracy C. Davis and Thomas Postlewait, 1–39. Cambridge and New York: Cambridge University Press.Google Scholar
  72. Puchner, Martin. 2002. Stage Fright: Modernism, Anti-Theatricality, and Drama. Baltimore: Johns Hopkins University Press.Google Scholar
  73. Reinelt, Janelle. 2002. The Politics of Discourse: Performativity Meets Theatricality. SubStance 31 (2–3): 201–215.CrossRefGoogle Scholar
  74. Salter, Chris. 2010. Entangled: Technology and the Transformation of Performance. Cambridge, MA: The MIT Press.CrossRefGoogle Scholar
  75. Sauter, Willmar. 2000. The Theatrical Event: Dynamics of Performance and Perception. Iowa City: University of Iowa Press.Google Scholar
  76. Schechner, Richard. 1985. Between Theater & Anthropology. Philadelphia: University of Pennsylvania Press.CrossRefGoogle Scholar
  77. ———. 2003. Performance Theory. Rev. and exp. ed. London and New York: Routledge.Google Scholar
  78. ———. 2006. Performance Studies: An Introduction. 2n ed. New York: Routledge.Google Scholar
  79. Sedgwick, Eve Kosofsky. 2003. Touching Feeling: Affect, Pedagogy, Performativity. Durham and London: Duke University Press.Google Scholar
  80. Sedgwick, Eve Kosofsky, and Andrew Parker, eds. 1995. Performativity and Performance. New York and London: Routledge.Google Scholar
  81. States, Bert O. 1985. Great Reckonings in Little Rooms: On the Phenomenology of Theater. Berkeley: University of California Press.Google Scholar
  82. ———. 1996. Performance as Metaphor. Theatre Journal 48 (1): 1–26.CrossRefGoogle Scholar
  83. Stockwell, Peter. 2009. Texture: A Cognitive Aesthetics of Reading. Edinburgh: Edinburgh University Press.Google Scholar
  84. Thrift, Nigel. 2008. Non-Representational Theory: Space, Politics, Affect. London: Routledge.Google Scholar
  85. Turner, Victor. 1980. Social Dramas and Stories About Them. Critical Inquiry 7 (1): 141–168.CrossRefGoogle Scholar
  86. ———. 1982. From Ritual to Theatre: The Human Seriousness of Play. New York: PAJ Publications.Google Scholar
  87. Turner, Henry S., ed. 2013. Early Modern Theatricality. Oxford: Oxford University Press.Google Scholar
  88. Turner, Cathy, and Synne K. Behrndt. 2008. Dramaturgy and Performance. Basingstoke and New York: Palgrave Macmillan.Google Scholar
  89. van Eck, Caroline, and Stijn Bussels, eds. 2011. Theatricality in Early Modern Art and Architecture. Malden, MA: Wiley-Blackwell.Google Scholar
  90. Watt Smith, Tiffany. 2014. On Flinching: Theatricality and Scientific Looking from Darwin to Shell Shock. Oxford: Oxford University Press.CrossRefGoogle Scholar
  91. Weber, Samuel. 2004. Theatricality as Medium. New York: Fordham University Press.CrossRefGoogle Scholar
  92. Weiser, Mark. 1991. The Computer for the 21st Century. Scientific American 265 (3): 94–104.CrossRefGoogle Scholar
  93. White, Hayden. 1973. Metahistory: The Historical Imagination in Nineteenth-Century Europe. Baltimore: The Johns Hopkins University Press.Google Scholar
  94. Williams, Raymond. 1976. Keywords: A Vocabulary of Culture and Society. London: Fontana.Google Scholar

Copyright information

© The Author(s) 2018

Authors and Affiliations

  • Teemu Paavolainen
    • 1
  1. 1.University of TampereTampereFinland

Personalised recommendations