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Dance Composes Philosophy Composes Dance: Series on New Choreography, Part III
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Journal Articles
Publisher: Journals Gateway
TDR/The Drama Review (2007) 51 (3 (195)): 156–166.
Published: 01 September 2007
Abstract
View articletitled, Creative Endurance and the Face Machine: RoseAnne Spradlin's Survive Cycle
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for article titled, Creative Endurance and the Face Machine: RoseAnne Spradlin's Survive Cycle
The final installment of a continuing series on choreography considering the mutual interrogation of philosophy and dance, the articles propose a tentative ethics of dance as a “practical philosophy” under the influence of Gilles Deleuze read through specific choreographic practices. Gerald Siegmund describes his private experience of Boris Charmatz's choreographic machine as a metaphor for the entrapment of theatre and as generative of new bodily subjectivities. Introducing anthropological applications of cognitive science to the particular strategies of choreographers working in Brazil, Christine Greiner argues for a political conception of self through dance. Examining the kinetics of the face in RoseAnne Spradlin's Survive Cycle , Victoria Anderson Davies meditates on the relationship of facial expression to language, to consciousness, and to movement.
Journal Articles
Publisher: Journals Gateway
TDR/The Drama Review (2007) 51 (3 (195)): 118–123.
Published: 01 September 2007
Abstract
View articletitled, Machines, Faces, Neurons: Towards an Ethics of Dance
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PDF
for article titled, Machines, Faces, Neurons: Towards an Ethics of Dance
The final installment of a continuing series on choreography considering the mutual interrogation of philosophy and dance, the articles propose a tentative ethics of dance as a “practical philosophy” under the influence of Gilles Deleuze read through specific choreographic practices. Gerald Siegmund describes his private experience of Boris Charmatz's choreographic machine as a metaphor for the entrapment of theatre and as generative of new bodily subjectivities. Introducing anthropological applications of cognitive science to the particular strategies of choreographers working in Brazil, Christine Greiner argues for a political conception of self through dance. Examining the kinetics of the face in RoseAnne Spradlin's Survive Cycle , Victoria Anderson Davies meditates on the relationship of facial expression to language, to consciousness, and to movement.
Journal Articles
Publisher: Journals Gateway
TDR/The Drama Review (2007) 51 (3 (195)): 140–155.
Published: 01 September 2007
Abstract
View articletitled, Researching Dance in the Wild: Brazilian Experiences
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PDF
for article titled, Researching Dance in the Wild: Brazilian Experiences
The final installment of a continuing series on choreography considering the mutual interrogation of philosophy and dance, the articles propose a tentative ethics of dance as a “practical philosophy” under the influence of Gilles Deleuze read through specific choreographic practices. Gerald Siegmund describes his private experience of Boris Charmatz's choreographic machine as a metaphor for the entrapment of theatre and as generative of new bodily subjectivities. Introducing anthropological applications of cognitive science to the particular strategies of choreographers working in Brazil, Christine Greiner argues for a political conception of self through dance. Examining the kinetics of the face in RoseAnne Spradlin's Survive Cycle , Victoria Anderson Davies meditates on the relationship of facial expression to language, to consciousness, and to movement.
Journal Articles
Publisher: Journals Gateway
TDR/The Drama Review (2007) 51 (3 (195)): 124–139.
Published: 01 September 2007
Abstract
View articletitled, Apparatus, Attention, and the Body: The Theatre Machines of Boris Charmatz
View
PDF
for article titled, Apparatus, Attention, and the Body: The Theatre Machines of Boris Charmatz
The final installment of a continuing series on choreography considering the mutual interrogation of philosophy and dance, the articles propose a tentative ethics of dance as a “practical philosophy” under the influence of Gilles Deleuze read through specific choreographic practices. Gerald Siegmund describes his private experience of Boris Charmatz's choreographic machine as a metaphor for the entrapment of theatre and as generative of new bodily subjectivities. Introducing anthropological applications of cognitive science to the particular strategies of choreographers working in Brazil, Christine Greiner argues for a political conception of self through dance. Examining the kinetics of the face in RoseAnne Spradlin's Survive Cycle , Victoria Anderson Davies meditates on the relationship of facial expression to language, to consciousness, and to movement.