Watching a choreographed army parade, a real one, on the dance carpet of the National Dance Center in Bucharest in 2010, one was not invited to criticism but to a shift of horizon: to watch this show as one would watch a dance piece. No comment, just believing it, and watching yourself believing, indifferently (not with irony). The dance, the performativity, was the movement of the context, the movement of it becoming meta-context, because of the contingency inflicted within its structure (the outside of the theater, the military reality, was injected into the “autonomous” theater field). This was the Military Performance, a Postspectacle work. In Postspectacle, a trade was being made: the rolling further of the performance carpet outside of the theatre provoked the unrolling of the reality from outside the theatre onto the formal stage. And we were sitting in-between. Alina Popa
