Yoko Ono: Impasses and instructions

Abstract

In this paper, I research Yoko Ono’s performance work in the various impasses that she establishes, such as creating and externalizing the production, or the impasse between crisis and perception/ representation, between instruction and dealienation and between the experience of seeing and total enlightenment. Yoko Ono’s performance art presents itself as a critical thinking experience. Thus, I propose to discuss RoseLee Goldberg and Marvin Carlson’s studies on performance, as well as Belén Gache’s studies on instructions for use, and also Jonathan Crary’s concepts of the experience of seeing and enlightenment. The aim is to show how performance/ drama is a textual experience that is capable of inserting a political space into the theater.