This book assembles the contributions to the international symposium Narrativity and Intermediality on the Contemporary Stage in Montpellier 2016. The symposium was based on the hypothesis that, despite the rise of performative and postdramatic theatre and a subsequent abandonment of the plot, theatre performances tell stories after all. The variety of positions in this book now discuss and reflect the relation between narration, theatre and intermediality nowadays. Ce livre rassemble les actes du Colloque international Narrativite & Intermedialite sur la scene contemporaine, manifestation qui s'est tenue a Montpellier en 2016. Les contributions reunies dans cet ouvrage ont trait aux modalites par lesquelles la scene contemporaine, qu'elle soit theatrale, choregraphique ou performative, continue de produire du recit. Depuis l'analyse des oeuvres, et dans un dialogue avec les artistes, elles se consacrent aux interrogations qui relevent de l'intermedialite.

This study is the first monograph on the work of French choreographer Jerome Bel, following his artistic trajectory from the beginning of his career as a choreographer in 1994 to his most recent piece in 2016. It contains an overview and in-depth analysis of all of his choreographies, from Nom donne par l'auteur to Disabled Theatre, and provides a theoretical reflection on their theatrical nature. Bel has developed a singular discourse on dance that has often been labelled 'conceptual'. By reducing the stage elements in his performances to a minimum, his work explores the implications of dance as an art form that has, since the heyday of modernism, based its guiding principles on the laws of nature. Bel addresses the question of power relations in dance by working through the questions of authorship and various forms of subjectivity dance produces. Offering a unique opportunity to ground seemingly abstract academic theories in a specific embodied artistic practice, this study explores the intersection between artistic practice and theory.

Marking the 20th anniversary of Belgium's Kunstenfestivaldesarts-a major international arts festival-this ambitious book examines a wide range of critical perspectives on two decades of performing arts. The authors look closely at performing arts pieces from around the world to see what critiques and insights they reveal about society. Among the topics that these works address are the dialogue between history and memory, the development of a sense of community, the interplay between fiction and reality, and the fine line between a spectator and a witness. In addition to featuring images of the performances, the book includes texts by the artists themselves, sketches, photos, and writings by prominent figures in the fields of philosophy and sociology. The Time We Share attempts to build a global overview of the relationship between performing arts and society and determine how different performances helped shape international thought surrounding specific issues and ideas. Distributed for Mercatorfonds

Die Normen, Strategien und Regierungsformen des Theaters genauso kenntlich zu machen wie sein Ereignis, seinen UEberschuss oder sein Scheitern - das ist die Herausforderung, die sich mit Michel Foucaults Dispositiv-Konzept fur jede Betrachtung des Theaters stellt. Der Band "Theater als Dispositiv" versammelt Beitrage aus Philosophie, Soziologie, Theologie, Medien-, Film- und Theaterwissenschaft, die alle auf Foucault antworten, indem sie je unterschiedlich die Ordnung der Auffuhrung in ihrer historischen Dynamik, vor allem aber im Hinblick auf Dysfunktion, Fiktion und Wissen skizzieren. Das antike, das moderne und das zeitgenoessische Theater finden darin ebenso ihren Auftritt wie die Illusion oder die Szenographie, Kleist und Kubrick, die Figur des Harlekins oder das Theater der Theorie.

Wenn in Bezug auf Theater vom Als-ob die Rede ist, denkt man in der Regel nicht ans zeitgenoessische Theater. Schliesslich ist gegen das sogenannte "Illusionstheater", mit dem diese Rede fur gewoehnlich assoziiert wird, seit Beginn des 20. Jahrhunderts einiges unternommen worden. Zahlreiche Beispiele zeigen jedoch, dass das Als-ob keineswegs obsolet geworden ist. Illusion, mitunter auch Tauschung, ist im zeitgenoessischen Theater Realitat - auch dort, wo es nicht um die Darstellung fiktiver Realitaten geht, sondern um die Auseinandersetzung mit der Realitat der Auffuhrungssituation als solcher. Die Beitrage dieses Bandes gehen verschiedenen Realitaten der Illusion im zeitgenoessischen Theater nach und fragen nach den Konsequenzen, die sich daraus fur die Theaterwissenschaft ergeben.

Auf innovative Weise untersucht die Autorin die Kartographie als spezifische historische Inszenierungspraxis vor dem Hintergrund der Welt als Buhne im 16. und 17. Jahrhundert. Wen oder was inszenieren fruhneuzeitliche Himmelskarten? Wie prasentieren sie den neuen astronomischen Himmel? Himmelskartographischen Werken der Fruhen Neuzeit fallt als Theatri eine besondere Rolle bei der Sammlung und Darstellung von Wissen zu. Im Zusammentreffen von Wissenschaftsgeschichte, Kartographiegeschichte und Theaterwissenschaften offenbart sich ein Paradox im Goldenen Zeitalter der Himmelskartographie: Wachsende astronomische Wissensbestande fuhren zu sinkender kartographischer Darstellbarkeit. So liegt der besondere Reiz der Karten in der theatralen Vermittlungsleistung zwischen diesen Polen.

In recent decades, dance has become a vehicle for querying assumptions about what it means to be embodied, in turn illuminating intersections among the political, the social, the aesthetical, and the phenomenological. The Oxford Handbook of Dance and Politics edited by internationally lauded scholars Rebekah Kowal, Gerald Siegmund, and the late Randy Martin presents a compendium of newly-commissioned chapters that address the interdisciplinary and global scope of dance theory - its political philosophy, social movements, and approaches to bodily difference such as disability, postcolonial, and critical race and queer studies. In six sections 30 of the most prestigious dance scholars in the US and Europe track the political economy of dance and analyze the political dimensions of choreography, of writing history, and of embodied phenomena in general. Employing years of intimate knowledge of dance and its cultural phenomenology, scholars urge readers to re-think dominant cultural codes, their usages, and the meaning they produce and theorize ways dance may help to re-signify and to re-negotiate established cultural practices and their inherent power relations. This handbook poses ever-present questions about dance politics-which aspects or effects of a dance can be considered political? What possibilities and understandings of politics are disclosed through dance? How does a particular dance articulate or undermine forces of authority? How might dance relate to emancipation or bondage of the body? Where and how can dance articulate social movements, represent or challenge political institutions, or offer insight into habits of labor and leisure? The handbook opens its critical terms in two directions. First, it offers an elaborated understanding of how dance achieves its politics. Second, it illustrates how notions of the political are themselves expanded when viewed from the perspective of dance, thus addressing both the relationship between the politics in dance and the politics of dance. Using the most sophisticated theoretical frameworks and engaging with the problematics that come from philosophy, social science, history, and the humanities, chapters explore the affinities, affiliations, concepts, and critiques that are inherent in the act of dance, and questions about matters political that dance makes legible.

In recent decades, dance has become a vehicle for querying assumptions about what it means to be embodied, in turn illuminating intersections among the political, the social, the aesthetical, and the phenomenological. The Oxford Handbook of Dance and Politics edited by internationally lauded scholars Rebekah Kowal, Gerald Siegmund, and the late Randy Martin presents a compendium of newly-commissioned chapters that address the interdisciplinary and global scope of dance theory - its political philosophy, social movements, and approaches to bodily difference such as disability, postcolonial, and critical race and queer studies. In six sections 30 of the most prestigious dance scholars in the US and Europe track the political economy of dance and analyze the political dimensions of choreography, of writing history, and of embodied phenomena in general. Employing years of intimate knowledge of dance and its cultural phenomenology, scholars urge readers to re-think dominant cultural codes, their usages, and the meaning they produce and theorize ways dance may help to re-signify and to re-negotiate established cultural practices and their inherent power relations. This handbook poses ever-present questions about dance politics-which aspects or effects of a dance can be considered political? What possibilities and understandings of politics are disclosed through dance? How does a particular dance articulate or undermine forces of authority? How might dance relate to emancipation or bondage of the body? Where and how can dance articulate social movements, represent or challenge political institutions, or offer insight into habits of labor and leisure? The handbook opens its critical terms in two directions. First, it offers an elaborated understanding of how dance achieves its politics. Second, it illustrates how notions of the political are themselves expanded when viewed from the perspective of dance, thus addressing both the relationship between the politics in dance and the politics of dance. Using the most sophisticated theoretical frameworks and engaging with the problematics that come from philosophy, social science, history, and the humanities, chapters explore the affinities, affiliations, concepts, and critiques that are inherent in the act of dance, and questions about matters political that dance makes legible.