The concept of Performative Arts has also been theorised in Argentina over the last twenty years. Thus, an essential condition for realising a performative work is, therefore, the joint presence, in the same space, of the performers (artists who carry out the performance) and of an audience who attends it. Concretely, during a live performance, spectators and performers live and share a common artistic experience simultaneously and in the same place. In Introducción a los estudios teatrales, Propedéutica, the Argentinean theatre theorist Jorge Dubatti speaks of « convivio » or « acontecimiento convivial » because it implies:

The meeting, in person, without technological intermediary, of artists, technicians and spectators at a chronotopic (unit of time and space) everyday territorial crossroads (a room, the street, a bar, a house, etc. in the present time)" (our translation). 

The clarification regarding the non-use of "technology intermediation" is necessary because, quite recently, Jorge Dubatti contrasted this concept of "convivio" with the concept of "tecnovivio". Then, "tecnovivio", unlike the former, implies the physical absence of the spectator who attends the performance by means of a technological device (such as cinema). In particular, with the current COVID-19 pandemic and the inability of the public, due to health restrictions, to access theatre or gather to attend a live performance, many performative works have been performed live from different social networks (such as Facebook or YouTube live for example) or via online video on broadcasting platforms (such as Vimeo in particular).

While the use of technology can produce powerful effects on the spectator (visual effects, loud music, etc.) The fact that the spectator does not cohabit with the artists during the performance removes an expressive dimension from the performance: Indeed, there is no interaction between the audience and the artists, such as laughter, sighs, tears or silences, for instance, which can lead the artists to transform their performance or interpretation during the performance.

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References :

• Dubatti, J. (2012). Introducción a los Estudios Teatrales : Propedeútica (1a.ed.).