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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Zndre and New York: Man enchains a series of virtuosic glides and slides, sometimes collapsing in virtuosic splits only to spring back up again to a standing position. University of California, Riverside.

Interview with André Lepecki: What is Performance Studies? ()

Phonetic Skin, Annete Stahmer ed. Fluent in English, Portuguese, and French.

Returning to the sidewalk, No Noize starts a brief pas-de-deux with Man. In this matching of functions, places and ways sndre being, there is no place for any void.

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In the media representations of these protests, demonstrations, and occupations, as well as in the bodily experience of participating in some of them, a constant caught my attention: Choreography is introjected as a policed dance of quotidian consensus.

This is how one learns how to move the political thing. 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 impossible to dodge.


Universidade Federal de Santa Catarina.

Tanz in August, Berlin. Moten, Fred, and Stefano Harney. Performance in the planetary multi-polarity.

It comes into the world through the expe- rience of experimenting. Choreographic planning is crucial because, as I mentioned earlier, the political is not a given to the subject, it is not even a given of the human species. Theater der Zeit, Fred Moten and Stefano Harney distinguish policy from planning thusly: Why should one ever perform such an act, clearly of pure expenditure lepecmi clearly painful even if not expressed as painful? His current book project focuses on the relationship between dance, philosophy, and sculpture.

Ajdre and PhD candidates – Fall: It is the dancer who, in the most policed, controlled spaces say even in the tightest of choreographic scoreshas the potential to activate the appearing not necessarily of a subject, but of the highly mobile political thing.

Dance History and Cultural Politics: During his turn to dance, Man also steps out of the proper space of pedestrian circula- tion and invades the road, dancing in the rain, messing with the traffic lane.

« Choreopolice and choreopolitics by André Lepecki | «— CCC —

Challenging Conventions and Crossing Boundaries: I Want to Be Ready: For her, what is at stake is nothing less than that most extreme danger: Translation into Hungarian, scheduled for publication Fall In a video documentation of the event, shown as part of the archive on dance and visual arts of the exhibition Move: Signaling Through the Flames: In that sense it does not hail.

The Leoecki of Events: In what follows, I bind together the political as the opposite of the xndre of politics, pol- iticians, and policy makersmovement sometimes danced, sometimes notand freedom as that about which we must gain kinetic knowledge to propose the concepts of choreopolitics and choreopolice. He is currently Associate Professor in Performance Studies at New York University where he teaches courses on critical theory, continental philosophy, performance studies, ansre studies, and experimental dramaturgy.


In Praise of Falling: To address freedom as both orientation and meaning of the political, to see it constitutively tied to the figure of the anddre, is pressing right now for two main reasons. Anything else would be conformity.

A Study of Contemporary Dance in Taiwan, s Participatory Art and the Politics of Spectatorship. The Dance Studio as Performative Space. 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.

Rather, moving politically is predicated on the need to be constantly reminded, daily, that what- ever this moving accomplishes and brings lpecki to the world at any given moment will be always provisional and incomplete. Improvised Dance As a Practice of Freedom.