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Reflections after Performance Philosophy at Trinity Laban – March 2013

Jonathan Clark kindly invited me to give a talk on PP at Trinity Laban yesterday evening - a really welcome opportunity, for me at least, to think through my sense of where Performance Philosophy is at thus far and where it might go in future. In particular though it was great to meet so many researchers from across the disciplines, though particularly Music and Dance, who are concerned with a lot of the same issues that have been bugging me for years. We talked a lot, for instance, about some of the remaining issues around PaR - the continuing resistance…
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Syngram – for an ethics of technique

This paper will focus on the body and its relation to subjectivity and practices, taking on Foucault's and Deleuze's philosophies, and through the presentation this newly created concept, the syngram, one that helped me rethink actor's/performer's conscience and how a technique may lead into a mode of subjectivation. So, I shall begin with some statements before addressing the main issue in this paper. The human body is one of many effectuation and counter-effectuation of the Event that is Life, it's a complex of forces enclosed in multiple layers of surfaces, a palimpsest; it's an exhibitor – a surface of inscription…
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Preview benefit for “Theorems, Proofs, Rebuttals, and Propositions: A Conference of Theoretical Theater”

Dear friends,  As some of you know, I have been working with Esther Neff on an independent conference to gather people from various disciplines to theorize together prompted by --and through-- specific acts of performance. "Theorems, Proofs, Rebuttals, and Propositions: A Conference of Theoretical Theater" will happen in September 2013, in New York. (For more info: http://theatreastheory.wordpress.com/home/)I am really excited to announce that we will have a preview benefit event on March 23rd, with a lecture by Dr. Gayatri Chakravorty Spivak on imaginative training forepistemological performance. Also performances by Varispeed and Doug Barrett, and others. The event will be at Glasshouse in…
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The limits of ‘field thinking’

I have had the pleasure to spend much of the last couple of weeks reading through the great quality and quantity of proposals that we received for the Performance Philosophy conference in April. (NB. Decisions will be out by Jan 15th once the organizing committee have had a chance to meet and confer). What was fantastic and thought-provoking was the number of papers that really dealt with the questions of the CFP head on - particularly perhaps the question of what the future of this area of performance philosophy might be. Do we automatically restrict our thinking if we submit…
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Old news

Hello. I have recently returned to, spruced up and tagged my blog "Unattended Articles". Have a sift. There's a post here that perhaps serves as an introduction - Reality: A User's Guide. Thanks. http://slepkane.blogspot.co.uk/2012/11/reality-users-guide.html
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New Philosophy Journal

A new journal hass been founded: Sublin/mes. philosophieren von unten. a queer reviewed journal. The first issue will be published soon.http://sublinesblog.wordpress.com/ A liquid Manifesto What is philosophizing from below and why do we affirm it unconditionally? Philosophizing from below is affective, bodily, precarious, rhizomatic, cynic, wild, feminine, full of pleasure, poetic, prosaic, horizontal, performative, fierce, tender, abyssal, underlying, sublime, dangerous, erotizing, sexy, magnetic, repellent, sensitive, brute and rough, rhythmic, expanded, disadvantageous, powerful. And still much more. Philosophizing from below means not to relinquish philosophy to the heads and chairs of “academia” alone but to let it happen and occur everywhere it…
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Barthes and Performance

' To stay still and to step aside, both pertain in the end to a method of performance, to play. So it is not surprising that on the impossible horizon of the anarchy of language, at that point where language tries to escape the power inherent in it, to escape its own servility, one finds something that relates to theatre. To indicate the impossible limit of language I have cited two authors : Kierkegaard and Nietzsche. Both of them write , nevertheless. But what was at sake for both of them was the very inverse of identity; it was the…
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Caroline Bergvall event in Cambridge

To mark Caroline Bergvall's arrival as the incoming Judith E Wilson visiting fellow, there will be a special poetry event in the Judith E Wilson Drama Studio, Faculty of English, University of Cambridge. Monday 15th October, 8 pm. Caroline Bergvall and Lisa Robertson will present and read from their work. All welcome. Judith E Wilson Drama Studio, Faculty of English, 9 West Road, Cambridge CB3 9DP Caroline Bergvall is a poet of French-Norwegian nationalities who has lived in England since 1989. She has developed audio texts and collaborative performances with sound artists in Europe and North America. Her many books…
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The Worth of Words

Gay McAuley's talk at the TFTS Department in Aberystwyth yesterday made me wonder about the worth of words. She spoke of a 'wave of official apologies' that were happening across the globe and - if I remember correctly - that she deemed 'necessary'. Perhaps my issue is as much with the politics of such a gesture - the official apology - as with the word 'necessary'. Necessity indicates need, at least to me, especially since it stems from Latin, 'indispensable'. Is there a need for an absorption of historical (and in some cases still ongoing) trauma into the discourse of…
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Pavis, Performance Analysis and Perception

Upon reading Pavis' 'Analyzing Performance' (p. 24: "theater lovers capable of feeling and understanding the sensations and movements of their own bodies, [...] the bodies of performers [...] as an auto-bio-graphy in its true sense..."; italics not mine) I wonder: How do we get there? Is practice (i.e. constant exposure to various forms of performance) enough? Do you need to train yourself to "perceiv[e] 'thought-in-action'"? It cannot depend upon the often referred to suspension of disbelief for as soon as one is aware of it, one does not employ it anymore and yet I can consciously enjoy a performance, whole-heartedly…
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