Titlebook: Choreographing Agonism; Politics, Strategies Goran Petrovi?-Lotina Book 2021 The Editor(s) (if applicable) and The Author(s), under exclusi

包庇

The Choreography of Articulation,e when leaders are appointed to defend the peoples’ demands within institutions (the Spanish . 2014). The choreography of articulation opens up the possibility for movement-parties seen as alternative forms of political organisation tied to both institutions and social activism.

嘮叨

fiction

Discourse Theory and Artistic Performances,icularly on . (2014), a performance by Arkadi Zaides, a Belarus-born, Israeli choreographer based in France. With these examples in mind, I introduce key notions of tension, drama, affect, opinion formation, and (dis)identification, which I will develop in subsequent chapters.

locus-ceruleus

Affects and Opinion Formation, of investing affects in artistic performances gives rise to opinion formation. By extension, I show how uneven opinions mobilise innovative affects and affective states. Introducing the interplay between affects and opinion formations, this chapter extends the purview of the operation of (dis)identification.

旋轉(zhuǎn)一周

Identifications, Using the example of ., a performance by the Germany-based ‘collective’, Rimini Protokoll, I will demonstrate how artistic performances enact identification while imagining an alternative form of community.

博愛家

不滿分子

democracy.Expands the politico-philosophical debate on theo.In. Choreographing Agonism., author Goran Petrovi? Lotina offers new insight into the connections between politics and performance. Exploring the political and?philosophical roots of a number of recent leftist civil movements, Petrovi? Lot

refine

Additive

Zum Stellenwert von Frauenpolitikal Mouffe. My goal is to show that the (performing) body is always inscribed in a set of languages, practices, and institutions, and hence symbolically represented. As such, the body provides a dramatic encounter with the audience, mobilising the spectator’s senses to envisage different realities and to contest a dominant politics.

裂隙

Drama: An Encounter Between the Performance and the Audience,al Mouffe. My goal is to show that the (performing) body is always inscribed in a set of languages, practices, and institutions, and hence symbolically represented. As such, the body provides a dramatic encounter with the audience, mobilising the spectator’s senses to envisage different realities and to contest a dominant politics.