Heidegger and Performance explores convergences, direct or indirect, conscious or unconscious, between Heidegger's work and ideas of performance and performativity. Its central provocation is to replace the word 'being' with 'performance' and interpret through Heidegger, new ways of understanding both terms.
Heidegger and Performance explores convergences, direct or indirect, conscious or unconscious, between Heidegger's work and ideas of performance and performativity. Its central provocation is to replace the word 'being' with 'performance' and interpret through Heidegger, new ways of understanding both terms.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Martin Leach is senior lecturer of Performance Studies at De Montfort University where he teaches anatomy, physiology and philosophy to dance students. Marie Hay is senior lecturer in Dance in the School of Humanities and Performing Arts and part of the Centre for Interdisciplinary Research in Dance at De Montfort University.
Inhaltsangabe
Introduction (Marie Hay and Martin Leach) I. Heidegger and the Idea of Performativity 'Entering the fundamental occurrence: the essential step' (Stuart Grant, Monash University, Australia) II. Performance and temporality 'Heidegger's Augenblick and the Ephemerality of the Dance' (Catherine F. Botha, University of Johannesburg, South Africa) 'Dancing and Reading Time and Being: Rethinking the performer's techn¿ in the age of nonmimetic performance' (Kirsti Monni, University of the Arts, Helsinki, Finland) III. Performance and entanglement 'Heideggerian Care and Relational Performance: Solicitude, Curiosity, Care and Machination' (Paul Geary, Independent scholar, UK) IV. Performance and unconcealment 'Misfitness: Poetics of the Clown and Principles of Practice' (Marcelo de Almeida Libanio, Circo Teatro Udigrudi, Brazil) 'They Rock: Post-script for the drama of becoming unhomely' (Hester Reeve, Sheffield Hallam University, UK) V. Performance and attunement 'Active Affection: Heidegger's Account of Performativity as Middle-Voice' (Lucilla Guidi, University of Dresden, Germany) Conclusion: Heidegger's performative legacy
Introduction (Marie Hay and Martin Leach) I. Heidegger and the Idea of Performativity 'Entering the fundamental occurrence: the essential step' (Stuart Grant, Monash University, Australia) II. Performance and temporality 'Heidegger's Augenblick and the Ephemerality of the Dance' (Catherine F. Botha, University of Johannesburg, South Africa) 'Dancing and Reading Time and Being: Rethinking the performer's techn¿ in the age of nonmimetic performance' (Kirsti Monni, University of the Arts, Helsinki, Finland) III. Performance and entanglement 'Heideggerian Care and Relational Performance: Solicitude, Curiosity, Care and Machination' (Paul Geary, Independent scholar, UK) IV. Performance and unconcealment 'Misfitness: Poetics of the Clown and Principles of Practice' (Marcelo de Almeida Libanio, Circo Teatro Udigrudi, Brazil) 'They Rock: Post-script for the drama of becoming unhomely' (Hester Reeve, Sheffield Hallam University, UK) V. Performance and attunement 'Active Affection: Heidegger's Account of Performativity as Middle-Voice' (Lucilla Guidi, University of Dresden, Germany) Conclusion: Heidegger's performative legacy
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