Postfenomenologinė kūno samprata: G. Deleuze’as, F. Guattari ir R. Castellucci
LTSavo filosofiniuose tekstuose Gilles’ is Deleuze’as ir Felixas Guattari dažnai kritikuoja psichoanalizę, bet retai mini fenomenologijos kontekstą. Tačiau galime numanyti, kad Deleuze’o ir Guattari siekis dekonstruoti kūno vientisumo, reikšmės ir subjektyvumo principus oponuoja būtent psichoanalitinėms ir fenomenologinėms kūno sampratoms. Tiek psichoanalizė, tiek fenomenologija gali būti laikomos teorijomis, kurios siekia išsaugoti kūno vientisumą ir reikšmės tęstinumą. Deleuze’o ir Guattari kuriama „kūno be organų“ samprata išardo kūno vientisumo, reikšmės tęstinumo ir subjektyvumo principus ir perveda kūną į visiškai naujų sąvokų registrą. Šiame straipsnyje bandysiu apibrėžti „kūno be organų“ sampratą ir konkrečiai aptarsiu, kaip „kūnas be organų“ veikia italų režisieriaus Romeo Castellucci performansuose.
ENThe article discusses the post-phenomenological notion of the body with reference to the theory of Gilles Deleuze and Felix Guattari and the performances of Italian theatre director Romeo Castellucci. Although Deleuze and Guattari almost never directly refer to phenomenology, their attacks on the principles of organization, signification and subjectification are directed to deconstruct the phenomenological and psychoanalytical notions of the body. Both phenomenology and psychoanalysis could be read as theories which attempt to recharge the body with meaning even in such cases when the meaning is lost. By contrast, Deleuze and Guattari’s philosophy aim to disarticulate the unity of the body and the coherence of meaning. In A Thousand Plateaus Deleuze and Guattari introduce the notion of the Body without Organs which can be contrasted with the organized body which is the object of phenomenology and psychoanalysis. The task of psychoanalysis is to create the image of a whole self, whereas the “anti-psychiatric programme” which Deleuze and Guattari introduce, refers to the body as to the platform of experimentation. Deleuze and Guattari claim that the subject is defined by three strata: the organism, signifiance, and subjectification. To these three strata the BwO opposes disarticulation (or n articulations), experimentation as the operation on that plane (no signifier, never interpret!), and nomadism as the movement of desubjectification. As Elisabeth Grosz points out, the notion of the Body without Organs invokes a conception of the body that is disinvested of fantasy, images, projections, representations, a body without a psychical or secret interior, without internal cohesion and latent significance.Why do we need this programme of the Body without Organs? What does it mean to disarticulate, to cease to be an organism? Deleuze and Guattari reply that dismantling the organism has never meant killing yourself, but rather opening the body to connections that presuppose an entire assemblage, circuits, conjunctions, levels and thresholds, passages and distributions of intensity. It is precisely these connections which let us evade subjection, let us to unhook ourselves from the points of subjectification that nail us down to a dominant reality. In this respect there is a clear connection between Deleuze and Guattari’s notion of the Body without Organs and the performative strategies of Tragedia Endogonidia by Castellucci. The first moment, which connects Deleuze and Guattari with Castellucci is the disarticulation of the body. Castellucci, similarly as Bene, destroys the organic unity of the body and rearranges it as an assemblage collected from different surfaces, prosthetic devices, machines and mechanisms. In this sense we can say that Castellucci invents the Body without Organs which functions as a platform for producing different connections and distributing variable intensities. Another important characteristic of the Body without Organs is the destruction of the processes of signification and interpretation. Deleuze and Guattari here oppose the process of signification and interpretation as the basis of psychoanalytic cure. Psychoanalysis works in finding random symptoms and articulating them into a meaningful whole, into a personal fantasy.By contrast, the Body without Organs is a platform of experimentation, where different intensities circulate and pass. Instead of thinking about it in terms of signification (What does it mean?), we should think about it in terms of an affect (How does it work? What affects it can produce?). Similarly in Castellucci’s performances we can observe the repetitive exposure of the sequences of signs which have irretrievably lost their signification. The third moment which connects Deleuze and Guattari with Castellucci is the process of desubjectification. Deleuze and Guattari renounce the notion of the subject; similarly Castellucci prefers machines, animals and substances instead of human beings. In this sense we can claim that the main protagonist of Castellucci’s performances is the anonymity itself.
