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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Brazil Date of Birth: Environmental Performance in the Contemporary Portuguese Scene.
The three very different examples of movements within and around choreopolicing reveal the same single thing: To address freedom as both orientation and meaning of the political, to see it constitutively tied to the figure of the dancer, is pressing right now for two main reasons.
It is conceivable that someone might have wanted to play with the police.
The film, despite being documentary in its essence, is heavily edited in postproduction. Challenging Conventions and Crossing Boundaries: Precisely that thing called freedom. Wrestling with the Angels: Through sweat, through the shared sensation of the pain of the other, through the mesmerizing precision of the circular patterns being danced backward, through the slightly urgent beat of the soundtrack, through enduring and suffering, the whole question of choreographic imperatives becomes andfe to dodge.
Documentary film of the performance by Tania Bruguera. Presence and Body in Dance and Performance Theory.
André Lepecki – Wikipedia
Patrol car and dancers hold still for a few moments. To view supplemental media related to this article, please visit http: Dancing without the Colonial Mirror: One Decade, Four Choreographers. Political lepecmi and political hearing must always remain an open movement, not of commands and their implementation as in policiesbut a movement of the political itself — crisscrossing the multitude, converging divergences, aimed at freedom.
Mannarino opens her arms, goes up on demi-pointe, and starts to revolve in circles. Drawn into dance by friends-artists Francisco Camacho and Leepcki Mantero in he came to witness the surge of Portuguese dance, both as an insider in productions and soon as a critic for the weekly rock magazine Blitz Thoughts on the New York Dance.
An interactive archive for the exhibition Move: Rather, it is a social and personal force and a promise that must be built with others, must be set into relation, and must be dared, collectively, into existence.
Of course, these are not to be neglected in the business of politics, but Arendt is concerned with something else xndre a more fundamental, and much more precarious kind of movement. Dance History and Cultural Politics: It is political because it is doubly against the police: Wesleyan University Press, The Surreal Dance of Clara Andermatt.
After half an hour of dancing backwards, the increasingly visible effects of an impersonal force reimaging the figure of the dancer makes us seriously consider the antipolitical aspects of choreography as mentioned above, command and obedience are essentially antipolitical for Arendt.
The choreography is punishing, physically and mentally. Hauser and Wirth Zurich, Publications, Flemish Theater Institute, I would like to qualify this subject, appearing away from preassigned modes and spaces of circulation, as the political subject.
Universidade Nova de Lisboa. Other Teaching Extra-Mural short-term courses and seminars on practice and theory: Email Imprimer Twitter Facebook Google. Centro de Estudos de Teatro, U. Dancing backwards on a floor that has imprinted on it the architectural plan of the museum, Mannarino persists in her minimalist action — one minute, three minutes, ten minutes, twenty minutes, half an hour, the whole piece with only a few, very brief and very far apart pauses.
Deleuze wrote this uncanny premonition in Choreographing You at the Hayward Gallery inwe can see a anre annoyed spectator, a lfpecki man on his battery-powered wheelchair, resisting orders to move somewhere else. Then finally the patrol car slowly turns the corner and disappears from the frame. Fred Moten and Stefano Harney distinguish policy from planning thusly: It comes into the world through the expe- rience of experimenting.
SARMA: André Lepecki
Participated in the panel: The Drawing Center, The Dance Studio as Performative Space. Why should one ever perform such an act, clearly of pure expenditure and clearly painful even if not expressed as painful? Finally, the man gives up and goes to where the policeman commands Tate Modern Politique relative aux cookies. Mellon Seminar on Dance Studies. Delivered the lecture “The ‘Fact’ of Difference.
London and New York: