Abstract

This commentary on Kurt Vanhoutte and Nele Wynants’s of ‘Performing phenomenology: negotiating presence in intermedial theatre’ focuses on the implications of staging phenomenological research. In my opinion the authors missed an opportunity to stress more what W (Double U) , a performance of CREW has to offer postphenomenology and what it actually means to ‘perform’ phenomenology. I will not only argue that W (Double U) because of its performative nature offers a reflection on postphenomenology, but also that the performance must be understood as a specific kind of research, conducted simultaneously from a theoretical and aesthetic orientation, leading to a complex interaction between perception and reflection, and offering a valuable, different perspective on postphenomenological research issues. W (Double U) in this respect functions as a ‘theoretical object’, producing a specific kind of embodied knowledge. Finally I will emphasize the possible radical potential in W (Double U) , because I do believe that the performance, although it might not lead explicitly to social change, does have an important social and political relevance that the authors do not really delve into