In exploring this mode of truth, we have seen Gadamer turn to the work in two overlapping modes, the classic text and the work of art. In doing so he first distinguishes the performance arts, such as drama and music, from the nonperformance arts, such as literature; then he breaks down this distinction by suggesting that reading is a kind of performing. The difference is that in the case of the (obviously) performing arts the primary interpreter, the actor who plays Hamlet or the pianist who plays the Hammerklavier Sonata, presents an interpretation to the audience, while in the case of the (apparently) nonperforming art the readers (note the plural) of a novel, short story, or poem present an interpretation of teh work to themselves. (1503-8)
All performance is interpretation and all interpretation is performance. (1514-15)
Gadamer repeatedly stresses that classic texts speak to us, address us, make claims on us about what is right and good and true. In this respect they are more like persons with whom we engage in conversation than objects we subject to some methodical observation. So we have one more model of interpretation. It is like 1) performing a play or sonata; 2) translating from one language into another; 3) applying the law to a particular, concrete situation; 4) applying a scriptural text to the life of believers; and now 5) carrying on a conversation. The goal in every case is understanding. (1741-45)
Westphal, Whose Community? Which Interpretation? (Kindle Ed.)
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