ANDRE LEPECKI EXHAUSTING DANCE PDF

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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Exhausting Dance: Performance and the Politics of Movement – André Lepecki – Google Books

Limon and Virilio Moreover, the dialogue with philosophy is one in which the artists I discuss are explicitly engaged. Outside of writing, outside of the transversal cut of the symbolic, outside of longitudinal representational, what does she do then? Performance and the Politics of Movement. Emily Gastineau rated it it was amazing Jul 04, A becoming is not a correspondence between relations.

This unbearably frosty environment, this mode of presencing on the racist ground, this uncontrollable shivering made out of misread signs and bodies, this cold that Exxhausting describes becomes all of a sudden not only the climate of racist encounters but the critical temperature in which a melting away of the fixed distinctions between inside and outside may occur.

Dance critic Helmut Ploebst quotes Bel on this piece: But something extraordinary happens at the intersection between body and language in this beautiful piece, something fluid that suspends the house arrest of the body by language, by laws of exhaustkng and of signature.

So, how to rephrase the problem? Virilio refers to physical resistance, but also to political resistance, to that explicit biopolitical momentum initiated by the instability offered by the slant. Remember how Fanon felt exhilarated to be finally in the colonial lwpecki, 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?

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In this far-ranging and exceptional study, Andre Lepecki brilliantly analyzes the work of the choreographers: Through their vivid and explicit dialogue with performance art, visual arts and critical theory from the past thirty years, this new generation of choreographers challenge our understanding of dance by exhausting the concept of movement.

But with the crawls, there is also the revelation of unsuspected relationships between lack and movement, between lack and the ground. For what the solipsistic means is quite correct; only it cannot be said, but makes itself manifest. Then, propped on his shoulders, facing the wall, he proceeds to take his clothes off.

My objects, their bags or coats; their commentaries and my sound; lepeccki my stillness and their movement, other times my movement and their stillness. This book is not yet featured on Listopia. Crawford to find my xance intriguing so I go along with the idea that there is, in fact, a link between my work and that of bocio [west African vodun artifacts] artist-activators.

It is both present and absent. Odd bedfellows, philosophy and dance have spawned a tiny literature aandre with aspects of Western theatrical dance, explored in large part by men Sparshott and ; Fancher and Myers and phenomenological approaches to body knowledge, largely offered up by women Foster et al. This statement-instruction is always manifested in the title of each piece.

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Exhausting Dance: Performance and the Politics of Movement

The desk in AGSAMA is unusual — there is a stool physically attached to it where Dominguez sits, and there is another, identical stool directly across, on the side of the audience. Self Unfinished Photo: And that there are all kinds of non-human influences woven into us.

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Choreography is not only an intriguing hypermimetic art form born out of llepecki modernity. It is the orthogonal fixity between the two planes that is required. In the text I already mentioned that Pope.

Partnering with the spectral requires a peculiar form of masculine solipsism. Here, the forcing of perspective within a field of light leads from a sequence of odd objects to a vibrating, sonorous body, horizontally dancing its active stillness.

While dance is a technique for socializing, while dance is in itself a socialization, choreography appears as a solipsistic technology for socializing with the spectral, making present the force of the absent in the field of masculine desire. Not that ontology is made impossible in a colonized and civilized society, but is made unattainable.

This lawful dance for the sake of ease of expression is the ideological cadence of the choreographic. It transforms it through a shift in velocities, through an attending that carefully uncovers otherwise unsuspected zones and flows of intensities. In so doing, some of these performances are able to engage and rematerializes the “racialized territory” that dance criticism and scholarship often ignore Dominguez sets the cards on the table according to his own timing, arranging them carefully under the lens of the small video camera.

What is the function of the dance studio in all this?