FEMINIST THEORY, POSTSTRUCTURALISM, AND PERFORMANCE

Abstract

Between the romanticism of Nietzsche and the civic-minded feminist revolution of Morris/Solanis, Derrida's formulation of the antiessential essentiality of woman casts a curiously shaped net. If Derrida is right to say that engulfs and distorts all vestiges of[. . .] identity, what then does this she (re)present in performance? A shadow where identity should/ ought to be? Is the representation of woman's presence in fact a catalog of negation and absence-the perfect expression of Derrida's idea of language-as-absence? Are her performances a hubbub in which the loudest breakers become still as death? Or is Derrida's claim just another

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