Abstract

For Deleuze, the creation and conveyance of meaning requires not a strict fidelity to an original idea, message or image but rather its deformation. The forces causing such disfigurations operate in gesture, vocalisation and text, with one level sometimes disrupting the others. Among them, gesture plays an especially important role, given Deleuze’s attention to bodily experience. He locates it in theatre, painting and cinema, particularly in the works of Carmelo Bene, Francis Bacon and Jerry Lewis. In these cases, instead of conveying a recognisable message, a deformative gesture sends a shock wave that scrambles normal meaning assignments and codings. Yet, although gesture is a main channel for these communication disruptive forces, their origin may lie elsewhere, namely, in a ‘pick-up’ of influences resulting from an inter-affective encounter between heterogeneous bodies.