…the unique speech experience of each individual is shaped and developed in continuous and constant interaction with others’ individual utterances. This experience can be characterized to some degree as the process of assimilation–more or less creative–of others’ words (and not the words of a language). Our speech, that is, all our utterances (including our creative works), is filled with others’ words, varying degrees of otherness or varying degrees of “our-own-ness” ….These words of others carry with them their own expression, their own evaluative tone, which we assimilate, rework, and re-accentuate.
I love this quote.
It comes from an essay by the Russian philosopher, Mikhail Bakhtin whose ideas and concepts formed the foundation for Julia Kristeva’s intertextual theory. At the 2016 annual TaPRA conference, I was addressing Kristeva and Bakhtin’s ideas concerning intertextuality and endeavouring to demonstrate how the theory can be used to deepen our understanding of the ways in which artists intersect with each other, with audiences, with the world, with the past.
I am particularly interested in artistic domains and performance territories. In my research I am exploring how performances act as sites that enable intersections of audience and artists asking: what do these intersections yield? I am looking at the performing artist as a kind of curator who, in creating or participating in a performance, chooses to reveal certain aspects of her individual history, experience, skills, and knowledge to enable dynamic and engaging intersections with audiences. Continue reading