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On Form/Yet to Come

An issue on form, and the issue of form itself, might seem in the context of contemporary performance practices and the wider cultural and political environment, to be retrospective, a theme consigned to a formalism associated (at least within performance arts) with the structuralism of the 1970s or the modernism of the mainstream. Yet the question of formof how, where, with and for whom performance takes place, becomes visible or manifests itself as a point of resistance or a moment of slippage or connectivityseems to be as immediate and pressing as ever. The association of the term 'form' itself however has shifted. Form and its relation to timeto the yet-to-comeits relationship to politics, to space, to cultural environment, is perhaps no longer to be used in its more conventional association with the imposition of fixed organizational frameworks on the materials and contexts of performance, but in an active sense of processes of formation, the sets of relational processes that reflect the intensities, differences, transformations and translations that constitute the work of performance.1 Such a view of 'form' is of course exemplified widely in practice across the field of contemporary performance and informed by a relational view of performance as a shared moment of becoming, an event within an always wider and more complex set of associated processes and contexts that make connections (in terms of performance) between texts, histories, political economies and psychodynamics. Such conceptualizations are reflected inter alia in the writings of Nicholas Bourriaud on relational aesthetics and the limitations of static forms. Starting with the assertion that 'art is a state of encounter' where form exists only in the dynamic relationship enjoyed by an artistic proposition with other formations, artistic or otherwise', he goes on to propose that