{"id":743,"date":"2025-05-02T13:37:19","date_gmt":"2025-05-02T12:37:19","guid":{"rendered":"https:\/\/markelarias.eus\/?p=743"},"modified":"2025-05-22T16:15:35","modified_gmt":"2025-05-22T15:15:35","slug":"derechos-de-los-animales-copy-copy-copy-copy-copy","status":"publish","type":"post","link":"https:\/\/markelav.eus\/?p=743&lang=en","title":{"rendered":"Performativity"},"content":{"rendered":"\t\t
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\r\n\t\t\t\t\tPERFORMATIVITY\t\t\t\t<\/h1>\r\n\t\r\n \t\t\t\t\t
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\r\n\t\t\t\t\t\tMarkel Arias - Aritz Zabala - Marcos Garc\u00eda <\/p>\r\n\t\t\t\t\r\n <\/div>\r\n <\/div>\r\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Performativity means that language and actions don\u2019t just describe things, they actually create meaning. As Judith Butler (1997) explains, what we say and do can shape how people see truth, identity, and power. This idea was central to our performance, where we didn\u2019t just talk about ideas, we peerformed\u00a0through words, movement, and emotion.<\/p>

Erika Fischer-Lichte (2008) writes about how performers and audiences influence each other during a performance. Even though our piece wasn\u2019t interactive at all, it created strong emotional reactions.<\/p>

Our project also connects to Boal\u2019s Theatre of the Oppressed<\/em> (1979), which sees theatre as a way to prepare people for real-life action. While our audience couldn\u2019t change what happened on stage, the story was designed to make them think deeply and choose a side in their mind.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\n \n \n SUMMARY<\/span>\n\n \n
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For the Performativity theme, our team created a dramatic, semi-improvised performance simulating a kidnapping scenario, w<\/strong>here three fictional captors debate the value of a political hostage. Each captor embodies a different ideological stance: the capitalist pragmatist<\/strong> who seeks monetary gain, the social justice activist<\/strong> asking for systemic reform, and the nihilist anarchist<\/strong> who wants to destroy the system entirely.<\/p>

The performance was divided into three acts: the capture, the argument, and the public resolution. It was designed to immerse the audience in an emotionally charged narrative while exposing them to clashing worldviews. Although scripted, the actors used performative gestures, tension, and physical space to make each ideological position feel embodied and emotionally resonant.<\/p>

This wasn't a game or simulation, it was a live performative act built to engage with ethical questions about value, power, and societal change.<\/p> <\/div>\n\n <\/div>\n\n <\/div>\n\n \n

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\n \n \n RELATION TO INNOVATION AND JOURNALISM<\/span>\n\n \n
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This project represents an exploration of journalism through live performance. Instead of producing a written article or video report, we constructed a narrative where political ideologies were acted out in real time. This allowed the audience to not just observe, but feel and react to competing arguments about corruption, inequality, and violence.<\/p>

What made this performative journalism innovative was its use of:<\/p>