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Das 20. Jahrhundert war durch eine radikale Rückbesinnung auf die Möglichkeiten und Grenzen von Sprache gekennzeichnet. Der neuzeitliche Traum einer restlosen Benennung des Weltganzen wird fraglich, wenn ihr Medium - die propositionale Aussagelogik - unter Verdacht gerät. Der Band wirft die brisante Frage auf, ob der für das Jahrhundert prägende linguistic turn nicht so sehr in einer Hinwendung, als vielmehr in einer »Abwendung« vom Sagen besteht, die sich in der Entsagungsgeste von Melvilles Bartleby emblematisch verkörpert. Einzelanalysen zu literarischen Strategien bei Mallarmé, Wittgenstein, Celan, Foucault, Adorno, Derrida, Lévinas u.a.m. führen vor, wie Unterlassen nicht nur ein kritisches, sondern auch stets ein schöpferisches Moment in sich birgt. Mit Beiträgen von Giorgio Agamben, Jean Clam, Rüdiger Zill u.v.a.m. »In der Zusammenschau ergeben die Texte ein komplexes Bild, das der tatsächlichen Pluralität von Krisen und Umgangsweisen entspricht.« Christian Grüny, Zeitschrift für Kulturphilosophie, 3 (2009) Besprochen in: Monatshefte, 102/4 (2010), Stefan Greif IASL online, 26.01.2009, Felix Christen www.kritikon.de, 18.02.2009, Jan Müller
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Theater --- Philosophy. --- Theatrical science --- performances [creative events] --- Philosophy
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Cultural transformation tends to be described in one of two ways: either with reference to what comes about, is created or emerges in the process of change or with reference to what is destroyed or obscured in that process. Within a performative paradigm, that is, from a perspective which focuses on the manner in which social and cultural reality is constituted or brought about by human activity, theorists have, in recent years, tended to underline the productive aspects of transformation by emphasising the creative thrust of performative processes and events. In so doing, this perspective has tended to overlook the extent to which a certain destructive element may in fact be inherent to such performative processes. Drawing upon a range of historical and contemporary constellations of socio-cultural change and a variety of different types of events and activities, the articles in this volume describe different forms of destruction and their respective role in processes of transformation. Their shared aim is to explore the manner in which destructivity, such as the destabilisation and destruction of orders, subjects and bodies, can be grasped by concepts of performativity. In other words, to what extent may a certain destructive dynamic be inscribed within this very notion?
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Es gibt kulturelle, ästhetische und politische Handlungsformen, die einer Ökonomie der Zurückhaltung folgen. Handlung erscheint hier nicht nur als freiwilliges, affirmatives Tun, sondern auch als Zusammenspiel von Sich-Zurückhalten (Zaudern, Zögern, Diskretion) und Zurückgehalten-Werden (Nicht-Können, Nicht-Dürfen). Die interdisziplinären Beiträge des Bandes untersuchen ein diskursives Feld entlang der Begriffe Abstinenz, Diskretion, Reserviertheit und Beschränkung mit einem doppelten Fokus: der Askese als innerer, selbst auferlegter Zurückhaltung und der Restriktion als äußerem Zurückgehalten-Werden. Mit Beiträgen u.a. von Giorgio Agamben, Bazon Brock, Sybille Krämer, Thomas Macho und Joseph Vogl. »In einer Zeit, die der zweifelhaften Figur des Wutbürgers zu ihrem historischen Auftritt verholfen hat, können diejenigen nicht ganz falsch liegen, die das Raffinement der Zurückhaltung im Spiel halten wollen.« Ralf Konersmann, Süddeutsche Zeitung, 19.01.2011 Besprochen in: GERMANISTIK, 51/3-4 (2010)
Askese; Geheimnis; Unterlassen; Tabu; Zurückhaltung; Diskretion; Abstinenz; Kulturgeschichte; Kulturtheorie; Lebensstil; Theaterwissenschaft; Kulturwissenschaft; Cultural History; Cultural Theory; Lifestyle; Theatre Studies; Cultural Studies; --- Cultural Studies. --- Cultural Theory. --- Lifestyle. --- Theatre Studies.
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Actors and the Art of Performance: Under Exposure combines the author's two main biographical paths: her professional commitment to the fields of both theatre and philosophy. The art of acting on stage is analysed here not only from the theoretical perspective of a spectator, but also from the perspective of the actor. The author draws on her experience as both a theatre actor and a university professor whose teachings in the art of acting rely heavily on her own experience and also on her philosophical knowledge. The book is unique not only in terms of its content but also in terms of its style. Written in a multiplicity of voices, the text oscillates between philosophical reasoning and narrative forms of writing, including micro-narratives, fables, parables, and inter alia by Carroll, Hoffmann and Kleist. Hence the book claims that a trans-disciplinary dialogue between the art of acting and the art of philosophical thinking calls for an aesthetical research that questions and begins to seek alternatives to traditionally established and ingrained formats of philosophy
Drama --- Music, Dance, Drama & Film --- Acting. --- Performance art. --- Acting --- Performing arts. --- Actresses. --- Theater --- Art dramatique --- Arts du spectacle --- Actrices --- Théâtre --- Art de performance --- Philosophy. --- Philosophie --- Théâtre --- Culture --- Theater. --- Cultural and Media Studies. --- Theatre and Performance Studies. --- Study and teaching.
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Actors and the Art of Performance: Under Exposure combines the author's two main biographical paths: her professional commitment to the fields of both theatre and philosophy. The art of acting on stage is analysed here not only from the theoretical perspective of a spectator, but also from the perspective of the actor. The author draws on her experience as both a theatre actor and a university professor whose teachings in the art of acting rely heavily on her own experience and also on her philosophical knowledge. The book is unique not only in terms of its content but also in terms of its style. Written in a multiplicity of voices, the text oscillates between philosophical reasoning and narrative forms of writing, including micro-narratives, fables, parables, and inter alia by Carroll, Hoffmann and Kleist. Hence the book claims that a trans-disciplinary dialogue between the art of acting and the art of philosophical thinking calls for an aesthetical research that questions and begins to seek alternatives to traditionally established and ingrained formats of philosophy.
Didactics of the arts --- theater --- cultuur --- Theatrical science --- Sociology of culture --- Culture --- Theater. --- Acting --- Performance arts. --- Theatre --- Cultural and Media Studies. --- Theatre and Performance Studies. --- Study and teaching. --- Philosophy. --- Performance art. --- Dramatics --- Histrionics --- Professional theater --- Stage --- Performing arts --- Actors --- Cultural studies --- Arts, Modern --- Happenings (Art) --- Motion picture authorship. --- Motion pictures and television. --- Philosophy (General). --- Performing arts. --- Screenwriting. --- Screen Studies. --- Philosophy, general. --- Performing Arts. --- Show business --- Arts --- Performance art --- Moving-pictures and television --- Television and motion pictures --- Television --- Film authorship --- Film-making (Motion pictures) --- Film scriptwriting --- Filmmaking (Motion pictures) --- Motion picture plays --- Motion picture scriptwriting --- Motion picture writing --- Motion pictures --- Movie-making --- Moviemaking --- Moving-picture authorship --- Screen writing --- Screenplay writing --- Screenwriting --- Scriptwriting, Film --- Scriptwriting, Motion picture --- Authorship --- Screenwriters --- Play-writing --- Mental philosophy --- Humanities --- Performing Arts --- Artistic Research --- Arts-based-Philosophy --- Philosophy On Stage --- Performance Philosophy --- Schauspieler --- Theater --- Philosophie --- Korporale Performanz --- Künstlerische Forschung --- Theaterwissenschaft --- Kunst --- Actor --- Friedrich Nietzsche
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The Routledge Companion to Performance Philosophy is a volume of especially commissioned critical essays, conversations, collaborative, creative and performative writing mapping the key contexts, debates, methods, discourses and practices in this developing field. Firstly, the collection offers new insights on the fundamental question of how thinking happens: where, when, how and by whom philosophy is performed. Secondly, it provides a plurality of new accounts of performance and performativity -as the production of ideas, bodies and knowledges -in the arts and beyond. Comprising texts written by international artists, philosophers and scholars from multiple disciplines, the essays engage with questions of how performance thinks and how thought is performed in a wide range of philosophies and performances, from the ancient to the contemporary. Concepts and practices from diverse geographical regions and cultural traditions are analysed to draw conclusions about how performance operates across art, philosophy and everyday life. The collection both contributes to and critiques the philosophy of music, dance, theatre and performance, exploring the idea of a philosophy from the arts. It is crucial reading material for those interested in the hierarchy of the relationship between philosophy and the arts, advancing debates on philosophical method, and the relation between Performance and Philosophy more broadly.
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Was passiert, wenn die Sprache der Wissenschaften auf die Sprache der performativen Künste trifft? Welche Formen der öffentlichen Inszenierung, Darstellung und Versammlung laden dazu ein, sich auf die Produktivität der Fremdheit im Umgang mit Themen und Situationen, mit Anderen und mit sich selbst einzulassen? Jörg Holkenbrink und das Theater der Versammlung gelten als Pioniere solcher Verhandlungspraxen und performativen Forschungen, die sie seit 1992 an der Universität Bremen und darüber hinaus in den unterschiedlichsten regionalen, überregionalen und internationalen Kontexten praktizieren. Der Band zeigt, wie diese Prozesse etliche neue grenzüberschreitende Formate zu Tage gefördert und dadurch innovative Inhalte evoziert haben. Die Autor_innen widmen sich diesen Neuorientierungen vor dem Hintergrund von Bildung, Wissenschaft und Kunst und anhand einer Vielzahl sich ergänzender Darstellungsweisen.
Künstlerische Forschung; Performativität; Wissenschaft und Kunst; Bildung; Forschendes Lernen; Performance Studies; Theater; Wissenschaft; Kunst; Theaterwissenschaft; Wissenschaftssoziologie; Kunstwissenschaft; Artistic Research; Performativity; Education; Theatre; Science; Art; Theatre Studies; Sociology of Science; Fine Arts --- Holkenbrink, Jörg. --- Theater der Versammlung. --- Art. --- Education. --- Fine Arts. --- Performance Studies. --- Performativity. --- Science. --- Sociology of Science. --- Theatre Studies. --- Theatre.
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