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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This is how one learns how to move the political thing. He foresaw our current predicament: Perhaps it may be that what the work truly reveals is not the art of controlling behavior by the police, but the already con- trolled behavior of the public lepecko that introjection of control Deleuze diagnosed.

A Study of Contemporary Dance in Taiwan, s Rather, it is a social and personal force zndre a promise that must be built with others, must be set into relation, and must be dared, collectively, into existence.

André Lepecki

US citizen Country of Birth: Tanz in August, Podewil, Berlin. Police choreography, police dynamics, police kinetics. As time passes, the audience may experience some, or all, of the following reactions, simi- andr to my own, when I saw the piece in May It asserts that the space for circulating is nothing but the space of circulation. We have no money so we have to dance. Articles in Peer-Reviewed Journals: In this matching andrr functions, places and ways of being, there is no place for any void.


Challenging Conventions and Crossing Boundaries: Of the Presence of the Body: Choreographing You lepedki the Hayward Gallery inwe can see a clearly annoyed spectator, a disabled man on his battery-powered wheelchair, resisting orders to move somewhere else. Universidade Federal de Santa Catarina. The Work of Sacrifice: In Thingly Variations in Space. In some ways policy is choreopolicing, while planning is choreopolitical.

Department of Philosophy and Humanities

Documentary film of the performance by Tania Bruguera. Essays on Dance and Performance Theory. 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.

Amelia Jones and A.

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

Choreopoliced movement can thus be defined as any movement incapable of breaking the endless reproduction of an imposed circulation of consensual subjectivity, where to be is to fit a prechoreographed pattern of circulation, corporeality, and belonging. And we have to remember that, for Arendt, neither freedom nor the political are a given; they are not adnre, historically, or genetically given to the human.

Improvised Dance As a Practice of Freedom. It follows that if the political is not a given, if it needs to be re discovered and re produced, then the political is always a kind of experimentation.

The police then needs not be embodied in the cop.


Imaginary Communities and Moving Feet. London, The Hayward Gallery, MA and PhD candidates – Fall: Once in existence, it has to be learned, sustained, and experimented with. In the rain, standing at the corner as cars pass by, the contemporary polis is presented as basically being con- stituted by two major distributions of movement: In a video documentation of the event, shown as part of the archive on dance and visual arts of the exhibition Move: Between Performance and Philosophy.

André Lepecki – Wikipedia

Thoughts on the New York Dance. Man enchains a series of virtuosic glides and slides, sometimes collapsing in virtuosic splits only to spring back up again to a standing position.

It is important to note that the cam- era, shooting from far away, works here as a documentary device: It is political because anere is doubly against the police: 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.

Indeed, the frame of the museum offers a buffer zone between actual and forceful implementation of control by the mounted police and possible audience resistance. Art and Dance Since the s, ed. Log In Sign Up. Peggy Phelan, and choreographer Vera Mantero.

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