UC Santa Barbara

G.I. Gurdjieff, founder of the esoteric movement known as “The Fourth Way,” has long confounded his observers, pupils, and scholars of his life and work. This paper explores how Gurdjieff’s performative ambiguity in public self-presentations has contributed to the sense of mystery surrounding his identity and motivations as a spiritual teacher. To examine Gurdjieff’s performativity in the context of one of its most formative historical cases, my work considers his often-overlooked visit to America in 1924, when he and twenty-three of his pupils arrived from France to perform “demonstrations” of sacred dances, music, and “tricks, half-tricks, and real supernatural phenomena” for audiences in New York City, Boston, and Chicago. Revisiting primary sources from the 1924 tour alongside historical studies on religion, Orientalism, popular science, and stage magic in early twentieth-century America provides evidence to suggest that Gurdjieff’s mysterious persona was a product of his own self-fashioning, an identity that he developed as a means of inviting skepticism and debate. This analysis suggests we may reconceive Gurdjieff’s public performativity as ritualized mystery-making, constituting a provocative invitation to engage in Fourth Way praxis.