When he commenced his writing journey, Richard Sennett observed the rise of demagogues wielding influence in the public sphere. Notable figures like Donald Trump and Boris Johnson are adept at employing what he terms as “malign performances,” utilizing various theatrical techniques and materials. However, Sennett advocates not merely condemning their methods with detached correctness but suggests that the realm of artistry should counteract these tactics with equally compelling strategies. He posits that performance and the emotions it evokes are intrinsic to human existence.
With a distinguished career spanning back to 1977, Sennett has provided profound insights into the interaction between human bodies, actions, and the urban landscapes they inhabit. At 81 years old, he plans to conclude a trilogy on the “presence of art in society,” with forthcoming essays on narration and visual representation, should time permit. In his book “The Performer,” Sennett brings a unique perspective, drawing from his background as a trained professional musician, specifically as a cellist in New York. A career-altering hand injury redirected his path towards an academic pursuit in sociology following a failed surgical intervention.
Sennett seamlessly blends erudition with personal anecdotes, referencing luminaries such as Pico della Mirandola, Freud, Aristotle, Roland Barthes, and Hannah Arendt, whom he studied under. He intertwines these references with narratives from locales like Dirty Dick’s Foc’sle Bar in Greenwich Village during the 1960s, portraying a diverse mix of artists, “gay men of color,” and unemployed dock workers. Additionally, he recounts a poignant moment from the 1980s involving an unconventional production of “As You Like It” by AIDS ward patients at St Vincent’s hospital, underscoring the broad spectrum of what constitutes “the performer,” encompassing activists, ordinary individuals, as well as professional actors.
Delving into the historical evolution of theatrical spaces from ancient Greek amphitheaters to modern opera houses like Wagner’s Bayreuth, Sennett reflects on the changing dynamics between performers and audiences. He narrates colorful anecdotes illustrating the shift from rowdy, interactive audiences in the past to the more subdued and attentive spectatorship expected today. Sennett underscores the nuances of performance, highlighting its dual nature capable of both good and evil outcomes, cautioning against oversimplified moral messaging that might dilute its essence.
In his musings, Sennett emphasizes the importance of reciprocity between performers and audiences, viewing the performer as a “sociable artist” fostering nonverbal communication and wordless collaboration within an ensemble. He warns against the dangers of losing this reciprocity, which could pave the way for demagogues to manipulate crowds and perpetuate destructive behaviors. Ultimately, Sennett prompts readers to contemplate how the transformative power of performance can be harnessed to uphold freedom rather than sow discord.
“The Performer: Art, Life, Politics” by Richard Sennett, available from Allen Lane (£25), is a thought-provoking exploration of the intricate interplay between art, life, and societal dynamics. To acquire your copy and support the Guardian and Observer, visit [link]. Delivery charges may apply.