ABSTRACT
The final chapter brings together the different arguments developed in the book. Yet the chapter is not merely a summary: It readdresses the performances and the concepts in relation to the audience. How do we experience touch in the theatre setting, a setting usually dominated by the experience of sight? How can we “touch” touch in the theatre? By going back to the relation of affect and touch as well as their rhythmic relations, the chapter critically challenges the assumption that sight is the only sense used by the audience. By looking at touch, the different sense modalities intersect and recompose. Here, a mode of experience emerges that creates multiple relations between the touching on stage and the audience. Rather than thinking of perception as a unidirectional and linear relation between stage and audience, the concept of touching-seeing proposes a multi-relational assemblage of experience.
