Fluidity and fixity of performer, audience and performing space

Abstract

Abstract  Performance Theory is one of the theories which have by far removedseveral inconsistencies and contradictions in analysing orature, notablyAfrican orature. Unlike former theories which took texts as a basis ininterpreting orature, Performance Theory considers performance as asocially situated aesthetic communication between the performer andthe audience both of whom participate in the process as active agents.However, some of its notions are heavily influenced by westerntheatre. Consequently, some conceptual details go unnoticed because,instead of enriching the notions from the first-hand experience of theAfrican oral arts, western concepts are used instead. This paper seeksto challenge some of the performance conceptual axioms by showingaspects that were taken for granted. Most of the concepts, particularlyperformer, audience and performance space (stage) were for quite along time treated as separate fundamental performance entities. In thispaper, I attempt to refute these truisms and instead argue that, inpractice, these notions are fluid except for only a few of them. A widevariety of examples are given to testify arguments put forward. Thepaper concludes by emphasising that African orature genres are morecharacterised by fluidity and only a few of them are really fixed. Inaddition, some elements of African orature performances areephemeral and sometimes unexpected.