I really believed in my heart that art could actually do something.
Then that belief broke. I was doing all this reading about art, and I suddenly realized I preferred doing the reading to doing the art. Then that became reading philosophy and theory. Over the course of the next several years, I came to the same conclusion about theory, which was that it had the same sort of structural impotence. The thing about theater is that when you keep pushing it further and further, eventually what you get is everyday life. At the most extreme edges of performance art, you’re just going through your life, and that is the art. Theory, I think, ends up at the same place. The point at which theory becomes capable of accomplishing something is the point at which it has abolished itself.
Now, I’m actually quite interested in impotence and the performance of impotence. I am on Team Castration—literally. So I’ve come to expect that from a text, from my writing, from theory. It makes it a lot easier to enjoy things. It makes it a lot easier to enjoy the theater, to which I’ve been able to return, my expectations are so lowered.