PHILOSOPHICAL UNDERSTANDING OF THE PERFORMATIVE POTENTIAL OF THE THEATER NO

Abstract

Performativity is a multifaceted construct consisting of a number of components that are revealed in the aggregate of the concept due to the interweaving of action, meaning and being: where language, gesture and intention become not just tools of expression, but also acts of creating reality. An explanation of this can be found in John L. Austin, for whom words have not only descriptive, but also performative power: they do not just describe the world, but also transform it, as in the case of a promise, order or ritual. However, this potential goes beyond culture or, as in the case of John L. Austin, linguistics, entering the sphere of corporeality, sociality, and even ontology. The spectrum of the potential of performativity can be seen on the example of other philosophical theories in which it acts as a mechanism of construction. As in Judith Butler, it becomes a mechanism of identity construction: repeated acts, be it gestures, words or practices, form a subject that does not precede the action, but arises in it.On the other hand, Martin Heidegger could see in performativity an echo of being-in-the-world, where action not only changes external reality, but also reveals existence itself. The performative act becomes the site of Dasein's meeting with the world, the point where the potential of being is realized through participation. In this sense, performativity appears not only as a tool of power or self-expression, but also as a way of revealing the truth, albeit a temporary, situational one.Thus, if we consider the performative potential through a philosophical lens, we can see the dynamics between language and action, individual and society, possibility and limitation. It prompts us to think about how every act, be it an everyday gesture or an artistic performance itself, carries the power of creation, destruction or reinterpretation of reality, questioning the boundaries of what is and what can be.You can see the completeness of what constitutes performativity on the example of the Japanese Noh theater, which is not only a cultural phenomenon that emphasizes the aesthetic component of performance, but is itself a kind of philosophical practice that highlights the deeper structures of this phenomenon.