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While a ‘good’ style, for Quintilian, is correct, lucid, elegant, and balanced, Gilles Deleuze, in his essay He Stuttered, examined the style of a language in disequilibrium. These two concepts of style may be used to interpret Pieter De Buysser's L'opéra bègue / Stotteropera (2004). The Flemish theatre-maker and playwright challenges the comfort of spectators, forces them to stutter in their interpretation and to dissolve closed identities. Jacques Rancière, who considered the contradictory history of rhetoric and the model of the ‘good orator’, has argued that politics revolves around what is seen and who has the ability to see and the talent to speak. The question is whether L'Opéra bègue / Stotteropera takes part in a certain recasting of the sensible, and, more generally, whether performances that leave the spectator stuttering can be termed ‘political performances’.

The Creative Power in the Failure of Word and Language. On Silence, Stuttering and other Performative Intensities