The aesthetic and practical fields of excrementality of L’boulevard festival

The revolutionary aspect of performance is given ample room in this article. “Conflict” deserves a renewed importance, because it places the term “transgression” in relation to festivals as sites for the embodiment of social struggles. We will hone in on L’boulevard festival, which not only participates in a dialogue with social conflicts, but also epitomises them through an ambivalent theatricality that merges the real with the unreal. As festival agents identify their marginal place in relation to the body of the system – generally present in the festival through panoptical surveillance, badges, barriers and an entire discourse of social categorisation, and as they are cognisant of the festival as possibly an empowering threshold, a place for no system other than that chosen by the theatres of roleplaying, they activate their excrementality, a mentality which, in its ideological framing, creates and innovates, inspired by excrement, its functionality and symbolism. Excreta-mental types would perform the very khsoriya (vulgarity) expected of them, by performing their marginality (their becoming central), among other things, through art.