Transgression and Dissensus in Participatory Performance

This Practice-as-Research (PaR) thesis examines transgression and the emergence of dissensus in participatory performance across the disciplines of theatre, dance and gallery art. My research is founded upon the understanding that an autotelic experience in the form of play is a key experiential aspect for spectator-participants during participation. This thesis will outline that transgressive, or bad play, is an integral part of play. Transgressive or bad participation is therefore an inherent probability in participatory responses. I have explored this premise through five instances of participatory performance, designed to facilitate audiences with an opportunity to transgress. This research recognises transgression as experiential and aesthetic ingredient in participatory performance and celebrates its disruptive and explorative qualities. Furthermore, I will exemplify that transgressive acts are able to conjure the experience of Jacques Rancière’s concept of dissensus. The experience of transgression and dissensus share many aspects, and a renewed examination of dissensus through a lens of transgression can highlight how this concept is rooted in indeterminacy and multiplicity. The thesis consists of 8 Chapters. The Introduction, Chapter 1 and Chapter 2 are introducing the theoretical framework: Chapter 1 gives a detailed overview of the key concepts of transgression, play and dissensus; Chapter 2 identifies key phenomenological aspects relevant to an experience of transgression and dissensus. The next three chapters concern themselves with the practical framework: Chapter 3 discusses key case studies that have supported my research. Chapter 4 and 5 discuss my PaR methodology as well as my PaR performance. Chapter 6, 7 and 8 focus on key findings that emerge through my praxis: Chapter 6 discusses the key practical methodologies that have contributed to the emergence of transgression and dissensus; Chapter 7 discusses aspects relevant to spectator-participants and the participating community and Chapter 8 discusses transgression and dissensus as aesthetic ingredient. An additional PDF Documentation offers a creative outline as well as all pertinent video material for the praxis.