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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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.
Other editions – View all Exhausting Dance: In that book, Deleuze asks does not the paradox of repetition [lie] in the fact that one can speak of repetition only by virtue of the change or difference that it introduces in the mind which contemplates it?
L kinetically performs not only a profound critique of whiteness and blackness, of verticality and of horizontality, but also a general critique of ontol- ogy, a general critique of the kinetic dimension of our contemporaneity, and a general critique of abject processes of subjectivization and embodiment under the racist-colonialist machine — all by proposing a particular form of moving after the Fanonian stumble.
Just as silence is not used by Bel as the negation of sound, so the still is not used as the negation of movement. Vera Mantero summoning Josephine Baker 7 Conclusion: Rosalind Krauss observed that the question for Nauman in the s was to exert critical and material pressure on the project of Western sculpture.
Carr tells us that when Pope. But why give up verticality? 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 the text I already mentioned that Pope. A not-so-obvious acronym, a piercing sound blasting a hole in the signifier of blackness, zooming through it. What is the power this singularity brings? Paronomasia proposes to subjectivity alternative modalities of being in time. Thank you Elsa and Tobias for your beautiful and intelligent becomings.
Exhausting Dance: Performance and the Politics of Movement
What Bel does in The Last Performance is to show how this question, when uttered under the sign of choreography on that particularly hyperbolic representational space that is the stage, has the potential to reveal a whole series of reified associations between presence and visibility, absence and invisibility. Dance critic Helmut Ploebst quotes Bel on this piece: Erasing, rewriting, renaming, recalling, all operations that happen after the force of names that structured the whole piece is undone by the inassimilable exhausging the body produces.
What is the event this entrance announces? An individual would be lepecoi notion completely devoid of sense. On the vertical plane, dance demands perception fall within the parameters of frontal representation and linear perspective as already required by Georges Noverre in his famous Letters on Dancing and Ballet ;17 on the horizontal plane, dance demands perception to follow adnre of steps, so as to guarantee the possibility of reading the choreographic design as with Feuillet, for instance.
Exhausting Dance: Performance and the Politics of Movement – Andre Lepecki – Google Books
These questions reflect how the development of dance as an autonomous art form in the West, from the Renaissance on, increasingly aligns itself with an ideal of ongoing motility.
What does this tell us about Pope. Remember how Fanon felt exhilarated to be finally in the colonial metropole, a young doctor arriving from the colonized, colored, poor, far, and exotic elsewhere eager to offer his knowledge and skills to the scarred nation, eager to help France recover from the Nazi invasion? Moreover, as her body and our body and her objects and our objects gather on the cardboard floor, there is an unavoidable emphasis on the lepeckki effect produced on the art-works and on the audience anre by that unacknowledged transcendental force: The following chapters can be read in any order but I should outline their major thematic progression.
One of the relationships this book privileges is that between dance, dance studies, lepexki philosophy. 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. Susan Miller rated it it was amazing Jul 29, As regards ancient dances all I can tell you is that the passage of time, the indolence of man or the difficulty of describing them has robbed us of any knowledge thereof.
What does it mean for women choreographers to make for themselves a space of pure potentiality when working on horizontality in their dialogue with visual arts?
exhaustlng In the latter, the antigravitational pull rehearsed in Bouncing Balls by the means of slow motion is now conveyed by an inversion of the camera — creating the illusion that Nauman is actually suspended from the ceiling. The civil war in Bosnia-Herzegovina was raging. Panoramix levels us all as already falling.
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. A xance of the exhaustijg encounter with racial interpellation? Would there be a historical, even ontological, association between the choreographic, writing, and the law?
In his White Drawings pen and marker on notebook paper, —1a series of forty-eight small framed drawings each containing a short phrase written in block letters in either red or yellow, Pope.
What does it mean to compulsively submit oneself to the force of a perlocutionary utterance, to follow a choreographic demand as an inescapable program? Ande remember also that for Pope.