Abstract

The principle argument of this dissertation is that the overall theoretics and certain key concepts of Mikhail Bakhtin are useful for analysis of cultural and aesthetic performance. Bakhtin's conceptual categories are shown to be particularly relevant in relation to 20th century Euro-American aesthetic performance in the avant-garde and experimental tradition. Bakhtin is presented as a comprehensive and exemplary performance theorist whose ideas are congruent with recent advances in performance theory. The dissertation considers all of Bakhtin's writing and demonstrates that performance is at the center of his philosophical system. The importance of the notion of dialogism is emphasized as well as the critical value of Bakhtin's early work, notably the concepts of architectonics and answerability. Portions of the text include Bakhtinian approaches to the art of Hugo Ball, David Antin, Sam Shepard, and others. The last part is devoted to composer/performer Robert Ashley's extended operatic performance novel, Perfect Lives. ;The dissertation is in three parts. Part I introduces Bakhtin as a historical figure and subject of recent scholarship. It discusses the theory of dialogism. It also addresses prominent issues in performance studies and the theory and practice of Herbert Blau and Richard Schechner. ;Part II focuses on Bakhtin as systematic, "total" theorist. It outlines the aims of a Bakhtinian study and re-examines such key concepts as translinguistics, utterance, texts, chronotope, polyglossia, heteroglossia, event of being, exotopy, transgredience, hero, consummation, and unfinalizability. ;Part III, "The Architectonics of Robert Ashley's Perfect Lives," is an extended application of Bakhtin's ideas to a single text by composer and performer Robert Ashley. Sections examine Bakhtin's approach to genre and the concept of 'novelness.' Ashley has developed a new genre, 'the performance novel,' which combines features of the literary novel, as theorized by Bakhtin, and elements drawn from the avant-garde and experimental theater and new music performance traditions. There is an analysis of discourse in Perfect Lives. This part also comments on performance, mediation, and reception. ;The conclusion considers performance and an ethics of answerability