In this far-ranging and exceptional study, Andre Lepecki brilliantly analyzes the work of the choreographers: * Jerome Bel (France)* Juan. In this far-ranging and exceptional study, Andre Lepecki brilliantly analyzes the work of the choreographers: * Jerome Bel (France)* Juan Dominguez (Spain)*. André Lepecki. · Rating details · 33 ratings · 3 reviews. The only scholarly book in English dedicated to recent European contemporary dance, Exhausting.
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The piece reveals not the silence of things, but the rustling of the signifier resonating on the crust of every object, the rustling of language running along the surface of every body, like salt poured on the pages of a French disctionary. Because they so clearly embrace horizontality, Pope.
Repetition creates a form of standing still that has nothing of the immobile. As Thompson narrates, Pope.
Bel proposes a very specific notion of language, one that is as malleable, as playful, and as dynamic as the body. Jyn rated it really liked it Mar 13, Set side by side, these two discursive moments demand consideration. By stepping out of the strict Benjaminian division of planes according to their semiotic functionality, Brown steps out of conventional axiomatics of signification and representation. In the winter of I was able to see an installment of this 5-year crawl in downtown Manhattan, between Ground Zero and City Hall.
Exhausting Dance: Performance and the Politics of Movement
It is at this exuausting, which is the point where Wittgenstein, in the Tractatus, drops the notion of the subject, that an incredible solo by Xavier Le Roy, produced under the conditions of this expanded notion of methodological solipsism that disrupts notions of absolute seclusion, must be invoked. The objects hanging on the wall fixed with brown tape created two effects: It is also about identifying who detains knowledge of the ground — whether for the sake of survival or for imperial conquest.
Rather, for Heidegger what is, the essent, enters into the realm of being the moment it is infused with a minimum amount of movement. Project MUSE Mission Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide.
[Andre Lepecki] Exhausting Dance Performance and () | think leather –
And so he decided to film that — just the pacing. Brown enters the elpecki white room, about 6 by 6 meters, and walks around the historically resonant stage-page. Contraction is a term drawn from the philosophy of Henri Bergson — it implies an understanding of the present as simultaneously and permanently splitting open towards the past in ande and towards what-will-come in contraction. This book offers a significant and radical revision of the way we think about dance, arguing for the necessity of a renewed engagement between dance studies and experimental artistic and philosophical practices.
He picks up one pile of cards and carefully places the top card of that pile under the camera lens. But if one does engage in this critical operation, one will soon find out that it is not only the status of the body of the dancer on stage that requires critical revision.
In a concentrated and calm manner, almost hesitantly, she distributes charcoal and pastel sticks around the edges of the large sheet of paper exhaustinf by10 feet. Regardless of who begat who a question that dance historian Susan Manning has rightly discarded as unbearably Oedipal in its obsessive persistence within dance historiography [ The slant refers not only to oblique angles, those mediating the vertical and the horizontal, exhauting to the force of oblique looks, sliding glances with eyes at an angle.
And, from the quote above, it seems that Pope.
lepeckki Carr tells us that when Pope. Forged from a partnership between a university press and a library, Project MUSE is a trusted part of the academic and scholarly community it serves. La Ribot creates space that operates as an architectural disturbance. He also proposes how the body, in its most visceral activation, is not only a surface of inscription, as Foucault noted, but an instrument of writing, an inassimilable agent that constantly rewrites history back.
As dance scholars Susan FosterLynn Garafolaand Deborah Jowitt have argued, the premise of Romantic ballet was to present dance as continuous motion, a motion preferably aiming upwards, animating a body thriving lightly in the air.
The power is that of the fundamental question, the power of the ontological.
Exhausting Dance: Performance and the Politics of Movement – Andre Lepecki – Google Books
Published January 22nd by Routledge first published January 1st Oct 28, Deemeetree rated it it was amazing. Under the seismological effect, xndre, body and figure all endure a radical blurring. The inclusion of the kinetic into this political-ethical question of modern subjectivity brings us back to the problem of how to dance against the hegemonic fantasies of modernity, once those fantasies are linked to the imperative to constantly display mobility.
And what is that being that constantly performs this weaving of contemporaneity into pastness and back from the future if not the body — moving its presence not in a spatial grid, but in the multifolded dimensionality of its unstable, slanted, oblique throwness into time? Discomfort zones are carefully constructed by Pope.
On the ground, the first thing the group found out is that the terrain of cities and buildings has nothing to do with a planar surface. Their work demands to be read as performed extensions of the radical politics implied in performance art, in post-structuralist and critical theory, in post-colonial theory, and in critical race studies.
Thus, kinetic elements as well as the particular political, racial, gendered topographies of ontology impact on the definition of being.