Helena De Preester

The aim of this article is to focus on the body as instrument or means in performance-art. Since the body is no monolithic given, the body is approached in terms of its constitutive layers, and this may enable us to conceive of the mechanisms that make performances possible and operational, i.e. those bodily mechanisms that are implicitly or explicitly controlled or manipulated in performance. Of course, the exploitation of these bodily layers is not solely responsible for the generation of meaning in performance. Yet, it is that what fundamentally /enables/ the generation of sense and signification in performance-art. To approach the body in terms of its layers, from body image and body schema to in-depth body, may partly answer the complexity at work in art performances, since these concepts enable us to consider, on a theoretical level, the body as represented object, as subject, as motor means for being-in-the-world, as origin of subjectivity and emotions, as hidden but most intimate place of impersonal life processes, as possibly distant image, as sensitive, fragile and plastic entity, as something we own and are owned by, as our most personal and yet extremely strange body.