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Pragmatist Methods: Experimental Inquiry, Somaesthetics, and Performance Praxis

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Pragmatist Philosophy and Dance

Part of the book series: Performance Philosophy ((PPH))

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Abstract

This chapter examines John Dewey’s theory of inquiry which entails qualitative thinking in response to problematic situations, experimentation, and critical analysis of results. Mullis also discusses somaesthetics, the interdisciplinary field of study which advocates for pluralist inquiry aimed at improving the quality of bodily experience. He considers why theatrical performance has not been sufficiently engaged by those working in the field and, drawing on Dewey’s understanding of experimental inquiry and aesthetic experience, he argues that the methods and aims of Pragmatist philosophy are consistent with those of contemporary performance research. The chapter concludes by posing a problem regarding the cultural marginality of contemporary performance.

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Notes

  1. 1.

    For a critical discussion of the Deweyan emphasis on meliorism see Jay (2002).

  2. 2.

    For a discussion of the body, the Alexander Technique, and qualitative thinking see Shusterman (1997: 166–171). Dewey also gives the example of a harrowing journey at sea in order to demonstrate that the aesthetic need not be pleasant in nature—it may be characterized by a distinctly negative pervasive quality.

  3. 3.

    Shusterman critiques Foucault’s approach to somaesthetic care of the self because of its overriding emphasis on techniques of radicalization and violent sensationalism (2008: 30–43). For a critique of his argument see Ginot (2010).

  4. 4.

    In analytic fashion, Shusterman discusses writings by Roland Barthes, Susan Sontag, and Walter Benjamin on the unique power of the photographic image before considering how a photographic subject performs for the camera.

  5. 5.

    Interestingly, we learn that Toma inherited two unitards from his parents who starred in the Paris Opera ballet in the 1970s (Shusterman 2016: 20). Shusterman discusses his initial reservations about wearing the costume, one which a young ballet dancer on a proscenium stage would feel much more comfortable in. Part of the discomfort, of course, is the manner in which it reveals every bodily contour, however, more poignant is the fact that it is intended to facilitate audience viewing of dance technique which Shusterman does not have. Beyond exploring that contrast, an interesting way to investigate the intersection of somaesthetics and performance would be to consider how the historical significance of a particular costume affects both the wearer and the observer. After all, Toma could have purchased a new unitard not historically associated with a particular dancer, a particular dance piece, and a particular concert stage (Isaac 2017). Also, given that Toma set up a photo shoot in which Shusterman was photographed with two trained dancers who improvised while wearing similar costumes, it seems that the photographer is, at least in part, interested in casting a body philosopher in the role of a dancer (Shusterman 2016: 42–46). I discuss these and other issues in more detail in (Mullis forthcoming).

  6. 6.

    Early in my scholarly career, I critiqued Orlan’s transgressive body art without sufficiently engaging relevant work in feminist philosophy or performance studies (Mullis 2006b).

  7. 7.

    I should say that I follow Pouillaude’s definition of “technique” as “a systematic collection of gestures, which are codified, repeatable, and transmissible.” He also notes that this extends beyond nameable movement elements to include broader “ways of doing” or “ways of being” (2017: 253–256). For Van Dijk on Countertechnique see Ingo and Lampert (2011: 58–90). For more on gaga see Galili (2015) and Katan-Schmid (2016).

  8. 8.

    Dance partnering entails cooperative activity that inwardly focused somatic disciplines do not investigate.

  9. 9.

    For discussions of the socio-economic context of political theatrical performance see Balme (2014) and Harvie (2013).

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Authors and Affiliations

  1. Queens University of Charlotte, Charlotte, NC, USA

    Eric Mullis

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  1. Eric Mullis
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Correspondence to Eric Mullis .

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Mullis, E. (2019). Pragmatist Methods: Experimental Inquiry, Somaesthetics, and Performance Praxis. In: Pragmatist Philosophy and Dance. Performance Philosophy. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-29314-7_2

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