See me! A Discussion on the Quality in Performing Arts for Children Based on a Performative Approach

In this article, the writer discusses and analyses what happens to our evaluation of quality in performing arts for children when we move from the notion of art as an object to art as an event. Erika Fischer-Lichte´s theory on the so-called performative turn in the arts and more specifically, the term the feedback loop, constitutes the article´s theoretical backdrop. Two audience-related episodes, respectively the dance performance BZz BZz-DADA dA bee by ICB Productions (3 - 6 year olds) and the theatre performance Thought Lab by Cirka Teater (for 6 year olds and above), serve as starting points for the theoretical discussion. By adopting Siemke Böhnisch’s performative approach to performance analysis, focusing on the terms henvendthet (directed-ness, the actors´ and spectators´ mutual turning to the other) and kontakt (connection) in relations to the audience, the writer makes it possible to show a dissonance (and its reverse) between the performers and the audience in the two respective performances. The term dissonance describes moments of unintended breaks in communication, moments of which the performers are most likely unaware. These moments however become apparent when the audience´s reactions are included in the analysis. The author concludes that by deferring to a performative perspective, we become almost obliged to consider the child audience as qualified judges of quality, as opposed to allowing ourselves to dismiss their interactions as either noise or enthusiasm. Such a perspective is important not only for how we see and evaluate performing arts for children, but also for how artists must think when producing performances for this audience.In this article, the writer discusses and analyses what happens to our evaluation of quality in performing arts for children when we move from the notion of art as an object to art as an event. Erika Fischer-Lichte´s theory on the so-called performative turn in the arts and more specifically, the term the feedback loop, constitutes the article´s theoretical backdrop. Two audience-related episodes, respectively the dance performance BZz BZz-DADA dA bee by ICB Productions (3 - 6 year olds) and the theatre performance Thought Lab by Cirka Teater (for 6 year olds and above), serve as starting points for the theoretical discussion. By adopting Siemke Böhnisch’s performative approach to performance analysis, focusing on the terms henvendthet (directed-ness, the actors´ and spectators´ mutual turning to the other) and kontakt (connection) in relations to the audience, the writer makes it possible to show a dissonance (and its reverse) between the performers and the audience in the two respective performances. The term dissonance describes moments of unintended breaks in communication, moments of which the performers are most likely unaware. These moments however become apparent when the audience´s reactions are included in the analysis. The author concludes that by deferring to a performative perspective, we become almost obliged to consider the child audience as qualified judges of quality, as opposed to allowing ourselves to dismiss their interactions as either noise or enthusiasm. Such a perspective is important not only for how we see and evaluate performing arts for children, but also for how artists must think when producing performances for this audience