Titlebook: Choreographing Problems; Expressive Concepts Bojana Cveji? Book 2015 The Editor(s) (if applicable) and The Author(s) 2015 Performance phil

聰明

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PAD416

Introduction,and Jan Ritsema, . by Boris Charmatz, . by Eszter Salamon, . by Mette Ingvartsen, and . by Ingvartsen and Jefta van Dinther can be singled out and assembled into a varied yet coherent selection when we consider their creation of a method that we might call, after Gilles Deleuze, “choreographing problems.”

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Introduction, kind of thought that they both arise from and give rise to. It is an attempt to account, under the philosophical theme of “problems,” for the thought that differentiates specific practices of making, performing, and attending in seven works of dance. . and . by Xavier Le Roy, . by Jonathan Burrows

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流浪者

Disjunctive Captures of the Body and Movement,ct of dance or through the physical articulation of movement as the object of dance. In particular, I will explore the forms of corporeality that defy “the predication of embodied subjectivity” (Rothfield 2011: 204), which significantly marks the modernist legacy in contemporary dance. Modern and co

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Theatrical Apparatuses of Disjunction,West European and North American) tradition within which the choreographies considered here are made and presented. The attribute of “theater” means more than an institutional distinction from nonartistic dance practices such as social dancing or traditional folkloric dance. Since its modern profess

Dedication

Exhausting Improvisation: Stutterances,losophy and dance criticism and at once an important question raised by the concept of “choreographing problems”: can dancing be equated with thinking, and if so, under which conditions and terms? The topic of the relationship between dance and thought is further complicated by claims related to imp

青春期

A Critical Departure from Emotionalism: Sensations and Affects in the Mode of Performing,en the body and movement and between performing and attending. There I discussed concepts such as “part-bodies” and “part-machines” as well as theatrical apparatuses of disjunction such as the “head-box,” “de-figurement” of the stage, and heterogeneous “assemblings” (wirings of bodies and things). I

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