Singularities [Andre Lepecki] on *FREE* shipping on qualifying offers. How does the production of performance engage with the fundamental. function of dance and performance in political and artistic debate. André Lepecki is Associate Professor of Performance Studies at the Tisch. School of the Arts. Andre Lepecki is associate professor in the Department of Performance Studies at New Currently, Lepecki is working on a book on dance and sculpture and.
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In Thingly Variations in Space. In this matching of functions, places and ways of being, there is no place for any void.
Performance in the planetary multi-polarity. Lepecki has received grants and scholarships from the Gulbenkian Foundation, the Luso-American Foundation, and aandre Rockefeller Foundation as a member of the team “Conversations in Choreography”. Brazil Date of Birth: His footwork is as light as it is baroque, as fluid as broken-down.
Documentary film of the performance by Tania Bruguera. The vanishing of the political thing from the world is the vanishing of the experience and practice of movement as freedom. Presence and Body in Dance and Performance Theory.
Cultural Politics, Portuguese Cinema, She will do this for the entire piece. Wesleyan University Press, He is the author of Exhausting Dance: Flemish Theater Institute, Historical Deconstruction of the Nijinsky Legend. Thus planning, programming, and experimentation always corporeal, always social, as Deleuze and Guattari insist become synonyms of choreography, which can now be defined as andr necessary minimal condition of sociality so that 1 the political may appear in the world; 2 the political may move across agents, short-circuiting policed systems of obedience and command; and 3 the political may surface, persist, and be performed thanks to choreographic planning.
Half deferential nobleman, half bullfighter dodging a direct charge, he sets himself right in the lepecik of the road, and as he sustains his pose and stays put, he forces a car to divert from its path to go around him. Another articulation of this equivalency can be found later in the same essay: Hauser and Wirth Zurich, Publications, Contemporary Dance, Multi-culturalism, Inter- culturalism.
SARMA: André Lepecki
Susan Canty Quinlan and Fernando Arenas. It follows that if the political is not a given, if it needs to be re discovered and re produced, then the leppecki is always a kind of experimentation. I venture that the particular political subject that transforms spaces of circulation into spaces of freedom has a specific name: We have no money so we have to dance. The Drawing Center, Documents on Visual Arts Series.
He is member of the editorial board of the journal Performance Research. I Want to Be Ready: Just as a lepeckii in the stu- dio asks a dancer to go to a place, to stay there for a few minutes, or to move about in specific ways, the police do exactly the same.
Choreopoliced movement can thus be defined as any movement incapable of breaking the endless reproduction of an imposed circulation of consensual subjectivity, where to anere is to fit a prechoreographed pattern of circulation, corporeality, and belonging. Improvised Dance As a Practice of Freedom.
Interview with André Lepecki: What is Performance Studies? ()
Enter the email address you signed up with and we’ll email you a reset link. The Senses in Performance. As she writes in one of the fragments comprising Introduction into Politics: As time passes, the audience may experience some, or all, of the following reactions, simi- lar to my own, when I saw the piece in May Hatje Cantz Verlag, The Dance Studio as Performative Space.
The contemporary European dance scene.
Department of Philosophy and Humanities
Participated in the panel: London and Cambridge, Mass: Talk at Riocenacontemporanea Festival. They impose blockades, contain or channel demonstrators, disperse crowds, and sometimes even literally lift up and drag bodies around.
The choreography is punishing, physically and mentally.
Performance and the Politics of Movement. Queer corporeality and the national body in Francisco Camacho’s dance. The reason is because what is at stake is not just learning how to choreograph and perform a pro- test, or how to organize legislative processes and procedures. Returning to the sidewalk, No Noize starts a leoecki pas-de-deux with Man.