In theatre, presence is the matrix of power; the postmodern theatre of resistance must therefore both expose the collusion of presence with authority and resist such collusion by refusing to establish itself as the charismatic Other.

If television once could be seen as ranking among a number of vehicles for conveying expression or information from which we could choose, we no longer have that choice: the televisual has become an intrinsic and determining element of our cultural formation.

To move from a discussion of the early relationship between theatre and television to an examination of the current situation of live performance is to confront the irony that whereas television initially sought to replicate and, implicitly, to replace live theatre, live performance itself has developed since that time toward the replication of the discourse of mediatization.

It's impossible to say that live art enjoys any single status in the information age--there are versions of live art that are still primarily art-world phenomena, others that appeal to much broader audiences. The Burning Man festival is a case in point--an event featuring performance that is itself a performance, which partakes simultaneously of frontier mythology, a counter-cultural impulse, and popular cultural visibility.

We need to remain alert to what happens to the body when it is mediatised. Too often, the mediatised body is an anaesthetised body. I would be the last person to argue that the body signifies at some basic level that precedes or transcends its cultural inscriptions. Nevertheless, there is an ethical imperative not to conflate the body with its representations and mediations, but to remember that there is an actual body there somewhere, experiencing the consequences of what is being done to it.

In theatre, presence is the matrix of power; the postmodern theatre of resistance must therefore both expose the collusion of presence with authority and resist such collusion by refusing to establish itself as the charismatic Other.

The dilemma of Brechtian performance is that, for all of Brecht's emphasis on rationality and the undermining of theatrical illusion, the actor must convincingly portray something that she is not.