ANDRE LEPECKI EXHAUSTING DANCE PDF

Start your review of Exhausting Dance: Performance and the Politics of Movement Write a review Mar 19, Ayanna Dozier rated it really liked it Exhausting Dance: Performance and the Politics of Movement is a great introduction text on dance analysis and theory. In particular, scholars working in the realm of cultural, performance, and media studies will find this book useful in providing an overview and conceptually rich analysis on various forms of dance that exist in performance. Working through postcolonial theory, Lepecki situates the Western philosophy and linguistics as shaping the solipsistic solitary approach to dance that Exhausting Dance: Performance and the Politics of Movement is a great introduction text on dance analysis and theory. Working through postcolonial theory, Lepecki situates the Western philosophy and linguistics as shaping the solipsistic solitary approach to dance that privileges white male bodies over others.

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London: Routledge, ; pp. What can philosophy do for dance? Dance, though, hopes to explore the particular gesture, the particular release of energy, the particular moment of possibility without desire for broad appeal. Odd bedfellows, philosophy and dance have spawned a tiny literature concerned with aspects of Western theatrical dance, explored in large part by men Sparshott and ; Fancher and Myers and phenomenological approaches to body knowledge, largely offered up by women Foster et al.

Although a palpable line of gender divides the discussion, this constant emerges: Philosophy tends to push conversations around dance away from physical movement toward a space of contemplation, where bodies can become interchangeable, and, in many ways, irrelevant. Here, as in previous philosophical explorations of dance, readers will immediately note the dominant Europeanist tendency to universalize "the politics of movement" through a blankly heterosexualized masculine whiteness.

Following the lead set by most English-language translations of Martin Heidegger, the book trades in an aggressive resistance to literary clarity, one that requires several careful perusals in order to comprehend the perspective at hand. Simultaneously intriguing and confounding, this small book predicts the rise of Europeanist ideologies for dance studies in the United States, a bourgeois retreat into travel to dance festivals and art [End Page ] galleries as a standard of dance research,2 and a displacement of progressive minoritarian performance practices for the sake of a new canon of unmarked white dance artistry.

An introductory chapter proposes that Western conceptions of choreography emerged as "a peculiar invention of early modernity, as a technology that creates a body disciplined to move according to the commands of writing" 6. Lepecki then rethinks how stillness in dance offers a way to foreground being in performance, a way to resist contemporary proclivities for constant motion effectively bound up with concepts of subjection and self-imprisonment.

In eight case-study analyses, Lepecki deploys divergent conceptual frames. A chapter "Masculinity, Solipsism, Choreography: Bruce Nauman, Juan Dominguez, Xavier Le Roy" explores white male creativity in terms of haunting and the "idiot," defined by Lepecki as "the isolated, self-contained one fantasizing subjectivity as an autonomously self-moving being" If you would like to authenticate using a different subscribed institution or have your own login and password to Project MUSE.

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Exhausting Dance: Performance and the Politics of Movement

London: Routledge, ; pp. What can philosophy do for dance? Dance, though, hopes to explore the particular gesture, the particular release of energy, the particular moment of possibility without desire for broad appeal. Odd bedfellows, philosophy and dance have spawned a tiny literature concerned with aspects of Western theatrical dance, explored in large part by men Sparshott and ; Fancher and Myers and phenomenological approaches to body knowledge, largely offered up by women Foster et al. Although a palpable line of gender divides the discussion, this constant emerges: Philosophy tends to push conversations around dance away from physical movement toward a space of contemplation, where bodies can become interchangeable, and, in many ways, irrelevant. Here, as in previous philosophical explorations of dance, readers will immediately note the dominant Europeanist tendency to universalize "the politics of movement" through a blankly heterosexualized masculine whiteness.

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André Lepecki

Photo: Frank Aymami. Courtesy of Creative Time. Andrea Fraser, Projection, Still from a 2-channel HD video projection installation. Courtesy of the artist and Galerie Nagel Draxler. David Levine, Bystanders, Performer: William Ellis.

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Could there be a temporal slanting taking place? L creates for and with his audience are zones neither of open confrontation, nor full-out antagonism. Intrusion of the ontohistorical choreographic number 5: To place Nauman directly within s postmodern dance is an intriguing historiographic move — but it is one that has been emerging recently and insistently in unexpected places. L to join us for a week at the Haus der Kulturen der Welt. To keep track of both one has to look up and down and sideways simultaneously. I dedicate each chapter of this book to a close reading of a few selected pieces by European and North American contemporary choreographers, visual artists, and performance artists whose work regardless of whether that work properly falls into the category of theatrical dance proposes, with particular intensity, a critique of some constitutive elements of Western theatrical dance.

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