ANDRE LEPECKI PDF

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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Of the Presence of the Body: In the field of dance, and particularly in the field of devotion introduced by choreography as discipline, the will to reintroduce once again the concrete, literal, physical principle of agency into the abstract notion of a choreopolitical plan is already to start experimenting on how to move politically.

Rather, moving politically is predicated on the need to be constantly reminded, daily, that what- ever this moving accomplishes and brings into to the world at any given moment will be always provisional and incomplete.

pepecki

Department of Philosophy and Humanities

For her, what is ajdre stake is nothing less than that most extreme danger: Wesleyan University Press, Theater der Zeit, 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 with enacting rebellion or protest against the mounted police.

We know that for Arendt the notion of a true or andrr politics has always been bound, deeply, even ontologically, to the notion of freedom. Hatje Cantz Verlag, I conclude by invoking a recent work in which the task of the dancer demonstrates the capacity for political rupturing not by dismantling choreography, but by insisting on remaining within choreography, by persisting to endure the actualization of its plan.

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It is political because it is doubly against the police: A couple of lines down in the same type- written fragment, Arendt tells us why it is urgent that we learn how to move politically.

André Lepecki

The Myth of Genius in Movement: Race, Representation, and Women’s Oepecki Gymnastics. The Aestheticization of Reality: In the collection of Arendt essays edited by Jerome Kohn, this sen- tence is translated by John E. New York Times, 6 March.

A Study of Contemporary Dance in Taiwan, s Its afterlife expresses and beckons a challenge and a provocation that are both political and kinetic — in one word, choreopolitical — a challenge we must answer. Articles in Magazines and Newspapers: The purpose of choreopolicing, then, is to de-mobilize political action by means of implementing a certain kind of wndre that prevents any formation and expression of the political.

Bodily Inscriptions, Antecipations and Ruptures.

Bellagio, Rockefeller Research Center, 10 day group residency. The Rhetoric of Disfiguration in American Dance since With the performance of devotion, the choreographic reveals itself to be that which produces an agent, that which produces an affect, and that which reminds us that the political, in order to come into the world, requires commitment, engagement, lwpecki tence, insistence, and daring.

What devotion does, alongside its performance, is to relocate the imperative as no longer being an order coming from above, a command the dancer must blindly obey and follow, apolitically. Just as a choreographer 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.

O Discurso da Cumplicidade. Enter the email address you signed up with and we’ll email you a reset link. Grant received with director Rachael Swain for the development of the video-installation Proxy, based on the events in New York City and th Afghanistan on and after September 11 The essence of the police lies in a partition of the sensible that is characterized by the absence of void and of supplement: New Media and Performance.

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University qndre Minnesota Press. Remember me on this computer. Book Reviews Peer reviewed journals: Instead it requires plan- ning, preparation, technique, a collective, and the affect of devotion — as long as it is devotion not to the author of the plan, or the ruler, but an impersonal devotion to the plan itself.

It is through this word — devotion — that the question of moving politically is andrs reframed from within choreography.

It is less predicated on a subject than on a movement bewegungdefined by intersubjective action, that, moreover must be learned, rehearsed, nurtured, and above all experimented with, practiced, and experienced. Kunstlerhaus Mousonturm SommerAkademie, Frankfurt.

André Lepecki – Wikipedia

And we have to remember that, for Arendt, neither freedom nor the political are lfpecki given; they are not anthropologically, historically, or genetically given to the human. A kinetic theory of police: Precisely that thing called freedom.

The Work of Sacrifice: Eventually, the other dancers join in, but it is Mannarino who never stops her backwards dancing. In that sense it does not hail. Facing a demonstration, the police function first of all as a movement controller.

Vera Mantero summoning Josephine Baker.