Do we need to be a "people," populus, in order to embrace democracy and live together in peace? If so, what is a populus? Is it by definition a nation? What exactly do we mean by nationality? In this book, Davide Tarizzo takes up the problem of modern democratic, liberal peoples—how to define them, how to explain their invariance over time, and how to differentiate one people from another. Specifically, Tarizzo proposes that Jacques Lacan's theory of the subject enables us to clearly distinguish between the notion of personal identity and the notion of subjectivity, and that this very distinction is critical to understanding the nature of nations whose sense of nationhood does not rest on any self-evident identity or pre-existent cultural or ethnic homogeneity between individuals. Developing an argument about the birth and rise of modern peoples that draws on the American Declaration of Independence of 1776 and the French Declaration of the Rights of Man and the Citizen of 1789 as examples, Tarizzo introduces the concept of "political grammar"—a phrase that denotes the conditions of political subjectification that enable the enunciation of an emergent "we." Democracy, Tarizzo argues, flourishes when the opening between subjectivity and identity is maintained. And in fact, as he compellingly demonstrates, depending on the political grammar at work, democracy can be productively perceived as a process of never-ending recovery from a lack of clear national identity.

This volume brings together important work at the intersection of politics and performance studies. While the languages of theatre and performance have long been deployed by other disciplines, these are seldom deployed seriously and pursued systematically to discover the actual nature of the relationship between performance as a set of behavioural practices and the forms and the transactions of these other disciplines. This book investigates the structural similarities and features of politics and performance, which are referred to here as ‘grammar’, a concept which also emphasizes the common communicational base or language of these fields. In each of the chapters included in this collection, key processes of both politics and performance are identified and analyzed, demonstrating the critical and indivisible links between the fields. The book also underlines that neither politics nor performance can take place without actors who perform and spectators who receive, evaluate and react to these actions. At the heart of the project is the ambition to bring about a paradigm change, such that politics cannot be analyzed seriously without a sophisticated understanding of its performance. All the chapters here display a concrete set of events, practices, and contexts within which politics and performance are inseparable elements. This work will be of great interest to students and scholars in both International Relations and Performance Studies.