ABSTRACT
This treatise has considered how the scenically performing body is possible in relation to, different from, and affected by the forms and experiences of corporeality that we are used to everyday and institutionally. This question was answered by the end of Part I, when I concluded that the event of scenic reunion of language and body, the birth of the scenic body, makes the body a performing one. In other words, the actor is a person who, through virtual scenic bodies, brings out our actual bodies as languaged. As a result, the person becomes the performing body and/or the spectator of that performance. The manifestation of the linguistic body, as I tried to show in Part II, thus constitutes the more or less explicit goal of performance. People want to approach this cause, which withdraws from all its phenomena while being virtually present in them. As such, creating, observing, and sharing such phenomena gives people both enjoyment and knowledge about the linguistic nature of reality. Scenic performance is a singular event that changes from one time to the next, the result of logomimesis, of practice in and repetition of languaging. The linguistic body never manifests itself as such but constitutes an idea that drives the process of languaging, in which actual singular beings inherently take part, as witnessed to by scenic presentation. The final chapter of this book is devoted to exploring this taking part.
