"Maybe theory is biography, presenting it is a lecture, and doing a lecture is performing.
Thank you for your attention. I'd be glad to answer any questions you might have."
(Xavier Le Roy)
Lecture performances have become a popular artistic format in recent years. Even though formally quite limited they offer unique and complex possibilites and challenges: Lecture as performance, reflection as self reflection, content as form, language as action. This blog accompanies the series of lecture performances, organized by Unfriendly Takeover in Frankfurt. Please feel free to post comments, critique, essays, bibliographies or just short remarks around the genre of lecture performances. As an continuing, ever changing definition in progress.

early sources

Yvonne Rainer
"Performance Demonstration"
in:
Dies.
"Work 1961-73"
New York 1974
S. 109-115

"Between 1968 and 1970 my work moved along in overlapping stages. I devised a format variously called Performance Demonstration, or Performance Fractions, or Composite, which would include fragments from old work plus slides, sound and whatever new work I was engaged in. On Sept. 16, 1968, I presented my first Performance Demonstration at the Performing Arts Library at Lincoln Center."

Marianne Goldberg
"Ballerinas and Ball Passing"
in: "Women & Performance. A Journal of Feminist Theory"
Vol. 3, No. 2 #6 1987/1988
S. 7-31

"I am dressed as a lecturer holding myself dancing in my hand (This essay was first presented in lecture form as part of the Women's Program at the National Educational Theatre Conference in New York City, August 1986. It was next presented as a lecture-performance, in radically altered form, with text spoken at a podium, accompagnied by gestures, at the "Women in the Arts" Symposium [...]. For publication it is again revised, this time as a performance piece for print. Images of myself as a lecturer and as dancer-choreographer are interspersed with images of choreography by other artists, both historical and ccontemporary)."