Fluidity and fixity of performer, audience and performing space

Performance Theory is one of the theories which have by far removed several inconsistencies and contradictions in analysing orature, notably African orature. Unlike former theories which took texts as a basis in interpreting orature, Performance Theory considers performance as a socially situated aesthetic communication between the performer and the audience both of whom participate in the process as active agents. However, some of its notions are heavily influenced by western theatre. Consequently, some conceptual details go unnoticed because, instead of enriching the notions from the first-hand experience of the African oral arts, western concepts are used instead. This paper seeks to challenge some of the performance conceptual axioms by showing aspects that were taken for granted. Most of the concepts, particularly performer, audience and performance space (stage) were for quite a long time treated as separate fundamental performance entities. In this paper, I attempt to refute these truisms and instead argue that, in practice, these notions are fluid except for only a few of them. A wide variety of examples are given to testify arguments put forward. The paper concludes by emphasising that African orature genres are more characterised by fluidity and only a few of them are really fixed. In addition, some elements of African orature performances are ephemeral and sometimes unexpected.