在我们开始研究如何表现/表演的文化建构的后结构主义者的逻辑，让我们先来看一看性能和操演的定义。什么是绩效？一般而言，“性能”是指完成一个预示文字工作。表演是由行为人的做法，排练，和做培训的，通常被称为“两次表现”或“恢复”行为[ 2 ]。这个定义在艺术领域是可以理解的，如在表演、戏剧或舞蹈中。但需要注意的是，日常生活中的人也涉及这样的行为。通过多年的培训，人们学会了适当的行为和不适当的行为之间的差异，并根据各种情况调整自己的行动。他们从幼年到童年接受的训练是他们成年后成功表现的预演。术语“操演”是一个抽象的陈述“性能”往往是用来命名的身分的性能的手势和言语能力。 性能/操演，通过福柯的学者Judith Bulter指出，根植于语言哲学和语言学的[ 3 ]。话语反复的功率驱动力的现象，规范和约束人们的生产
Before we begin to examine how the performance/performativity is culturally constructed following the logic of the poststructuralists, let’s first take a glance at the definition of performance and performativity. What is performance? In general, the word “performance” refers to the work carried out of a prefigured text. Performances are made of actions people practice, rehearse, and trained to do, usually known as “twice-behaved” or “restored” behaviors . This definition is understandable in the domain of art, like in a show, a play, or a dance. Yet it should be noted that the daily life of people also involves such behaviors. Through years of training, people learn the differences between appropriate behaviors and inappropriate ones, and adjust their actions according to various circumstances. Those training they received from infancy to childhood serves as a rehearsal for their successful performance in adulthood. The term “performativity” as a more abstracted statement of “performance” is often used to name the capacity of gestures and speech in the performance of an identity.
Performance/performativity, as noted by Foucauldian scholar Judith Bulter, is rooted in the philosophy of language and linguistics . The reiterative power of discourse is the driven force to the production of the phenomena that regulates and constrains people’s