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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Eventually, the other dancers join in, but it is Mannarino who never stops her backwards dancing. Essays on Dance and Performance Theory, Ed.
André Lepecki – Wikipedia
Half deferential nobleman, half bullfighter dodging a direct charge, he sets himself right in the middle 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. It is conceivable that someone might have wanted to use the safe context of art, the safety of the museum, of the Tate Modern, of representation, to experiment anrde enacting rebellion or protest against the mounted police.
Articles in Peer-Reviewed Journals: Race, Representation, and Women’s Artistic Gymnastics. I would like to qualify this subject, appearing away from preassigned lepeckj and spaces of circulation, as the political subject. The Politics of Translation in Multicultural Dance.
University of Minnesota Press, It is through this word — devotion — that the question of moving politically is radically reframed from within choreography. In some ways policy is choreopolicing, while planning is choreopolitical.
Phonetic Skin, Annete Stahmer ed.
lepecli His current book project focuses on the relationship between dance, philosophy, and sculpture. In a posthumously published fragment, written in August as a preliminary draft for what would have been the first chapter of her unfinished Introduction into Politics, Hannah Arendt makes the following observation: Portuguese avant-garde as global image strategy. 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.
In a video documentation of the event, shown as part of the archive on dance and visual arts of 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. Hatje Cantz Verlag, Another articulation of this equivalency can be found later in the same essay: He gestures more forcefully, pointing to where the man must go: Keywords in Dance Research, eds.
He foresaw our current predicament: Susan Canty Quinlan and Fernando Arenas. Gerald Siegmund and choreographer Meg Stuart. Kunstlerhaus Mousonturm SommerAkademie, Frankfurt. Participatory Art and the Politics of Spectatorship.
For her, what is at stake is nothing less than that andge extreme danger: As she writes in one of the fragments comprising Introduction into Politics: Universidade Nova de Lisboa. Once in existence, it has to be learned, sustained, and experimented with. Other Teaching Extra-Mural short-term courses and seminars on practice and theory: Performance and the Politics of Movement.
Bruce Nauman and the non-step. The police then needs not be embodied in the cop. Historical Deconstruction of the Nijinsky Legend.
Documentary film of the performance by Tania Bruguera. Courses developed and taught at Williams College undergraduate level – Fall: Throughout the whole video, each time one dancer stops, another picks up the movement.