Walking and Other Choreographic Tactics: Danced Inventions of Theatricality and Performativity

Imagine we are walking along the downtown streets of a major North American city, not strolling in the manner of the flâneur nor marching resolutely towards an urgent rendez-vous. Eventually, the goal is to arrive at two sites, not far from one another, called “performativity” and “theatricality.” But we can’t get there by taxi, and besides, we have enough time to enjoy the walk, to note the pedestrians around us, to perceive the ebb and flow of bodies along the sidewalk, to register the criss-crossing of trajectories that bodies accomplish so deftly at street corners. Mid-block, we walk into something that strikes a slightly odd note: a large, young man hovering behind an elderly shopper passes us just as we are overtaken by a short, young woman tailing a tall businessman. Each follows closely the rhythm, step, and posture of their unaware leader. Then, they stop, turn to face the street or gaze skywards, and adopt the pose of someone waiting. They check their watches; they shift from side to side. We scan the street. They are not alone. Bodies situated at irregular intervals stand waiting; then each falls in behind a new passer-by, exaggerating ever so slightly the demeanor of their new leader.