The article “To Live in Repetition: Performance, Memory and Trauma” offers a reflection
on the psychoanalytical concept of repetition and its role in the understanding of the
functions of traumatic memory and performance. The author offers the concept that
performance can be understood not so much as a separate medium but as a very way of
living through history and experiencing historical events towards the end of modernism.
Thus performance seems to be most of all the means and not the aim of the artistic
operation, while what is being produced (and remains), the material work itself, is not
considered mere documentation. In such a context, performance emerges as a threshold
genre, where the past becomes present in order to soon become past, this time however,
necessarily shifted and dislocated by the very gesture of repetition and remaking. The
author analyses the work of Miron Białoszewski in his war-time memories as a performance
of sorts which is based on the dynamics of repetition and reenactment: the subject of the
interpretation is not only the written aspect of the memoir, but also gestures towards
the process preceding the writing, such as the author’s oral performances, his “talking”
as well as recording and last but not least, the oral reenactment of the book in the Polish
Radio studio.
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