Abstract
This article discusses the performative act as permanent self-deconstruction, a conflituous relation that produces alterities. Among those is the radical alterity, the whole other, which is the body’s schism between intimate and extimate, so alien to each other that they can’t communicate, becoming body and anti-body. Therefore, the spectator can only experience the performance if they also perform, deconstructing and experiencing themselves as the infinite inside the infinite of the other. The performances of Jean Desailly and Françoise Dorléac in scenes from François Truffaut’s film La peau douce are deflagrating examples of the thought hereby discussed.
keywords:
body-image; relationship; performance; hospitality; radical alterity
