Jon Foley Sherman – författare

What happens in the relationship between audience and performer? What

choices are made in the space of performance about how we attend to

others?

A Strange Proximity examines stage presence as key to thinking about

performance and ethics. It is the first phenomenological account of ethics

generated from, rather than applied to, contemporary theatrical productions.

The ethical possibilities of the stage, argues Jon Foley Sherman, rest not

so much in its objects—the performers and the show itself—as in the “how”

of attending to others. A Strange Proximity is a unique perspective on the

implications of attention in performance.

What happens in the relationship between audience and performer? What

choices are made in the space of performance about how we attend to

others?

A Strange Proximity examines stage presence as key to thinking about

performance and ethics. It is the first phenomenological account of ethics

generated from, rather than applied to, contemporary theatrical productions.

The ethical possibilities of the stage, argues Jon Foley Sherman, rest not

so much in its objects—the performers and the show itself—as in the “how”

of attending to others. A Strange Proximity is a unique perspective on the

implications of attention in performance.

This book offers a timely discussion about the interventions and tensions between two contested and contentious fields, performance and phenomenology, with international case studies that map an emerging twenty-first century terrain of critical and performance practice. Building on the foundational texts of both fields that established the performativity of perception and cognition, Performance and Phenomenology continues a tradition that considers experience to be the foundation of being and meaning. Acknowledging the history and critical polemics against phenomenological methodology and against performance as a field of study and category of artistic production, the volume provides both an introduction to core thinkers and an expansion on their ideas in a wide range of case studies. Whether addressing the use of dead animals in performance, actor training, the legal implications of thinking phenomenologically about how we walk, or the intertwining of digital and analog perception, each chapter explores a world comprised of embodied action and thought. The established and emerging scholars contributing to the volume develop insights central to the phenomenological tradition while expanding on the work of contemporary theorists and performers. In asking why performance and phenomenology belong in conversation together, the book suggests how they can transform each other in the process and what is at stake in this transformation.