The Deleuze-Ian/Guattarian Performance: Performancing at N-1 Dimensions - the Body Without Organs
Exploring the Radical Notions of the Body Without Organs
by Anju Bhardwaj*,
- Published in Journal of Advances and Scholarly Researches in Allied Education, E-ISSN: 2230-7540
Volume 4, Issue No. 8, Oct 2012, Pages 0 - 0 (0)
Published by: Ignited Minds Journals
ABSTRACT
From the body in need of redesign I move to another body;a body remade to the point of completely having to be re-conceptualised. Thisis a body that is always open for new forms to take shape; a body that eschewshierarchical organisation of itself: Deleuze’s and Guattari’s (D&G) bodywithout organs (BwO). In looking at the BwO I endeavour to incite the reader tothink in different ways; similarly to what I think D&G urge us to do, thatis, to think differently, to open the body to new connections, to look atthings in a more sideways fashion, which is in an unusual and, at times, crazymanner.
KEYWORD
Deleuze-Ian/Guattarian Performance, Performancing, N-1 Dimensions, Body Without Organs, re-conceptualised, new forms, hierarchical organisation, incite, think differently, sideways fashion
1. Deterritorialization is a specific term used by D&G; see (1988, p.508) for possible meanings. 2. Becoming is a D&G term; see chapter 10 “Becoming-intense, becoming-animal, becoming-imperceptible… in “A Thousand Plateaus” (1988). 3. Destratification can be understood as “going beyond the organism, plunging into a becoming” (1988, p.503). Destratification is linked to strata, an important D&G concept. D&G see three great strata, the organism, significance, and subjectification (1988, p.159), and strata is linked to stratification, which is “like the creation of the world from chaos, a continual, renewed creation” (1988, p.502). 4. D&G develop the theme of the rhizome in the introduction to “A thousand plateaus”. A rhizome can take on very diverse forms. Very simply put, it is
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5. Japanese improviser Toshimaru Nakamura’s no-input mixing board that also celebrates notions of the restrained must be mentioned here as well. Nakamura is an icon of what Meyer has called the “international fluorescence of lowercase sound art” (Meyer 2003). 6. I have questioned the formula “from-to”; the idea of the instrument as extension in a separate paper (Schroeder 2005).
