Notice bibliographique
- Notice
Type(s) de contenu et mode(s) de consultation : Texte noté : sans médiation
Titre(s) : Performing arousal [Texte imprimé] : precarious bodies and frames of representation / edited by Julia Listengarten, Yana Meerzon
Édition : First edition
Publication : London ; New York : Methuen Drama, 2022
Description matérielle : 1 vol. (VI-261 p.) : ill. ; 22 cm
Collection : Methuen Drama engage
Lien à la collection : Methuen drama engage
Note(s) : Includes bibliographical references and index
"This book considers arousal as a mode of theoretical and artistic inquiry to encourage
new ways of staging and examining bodies in performance across artistic disciplines,
modern history, and cultural contexts. Looking at traditional drama and theatre, but
also visual arts, performance activism, and arts-based community engagement, this
collection draws on the complicated relationship between arousing images and the frames
of their representability to address what constitutes arousal in a variety of connotations.
It examines arousal as a project of social, scientific, cultural, and artistic experimentation,
and discusses how our perception of arousal has transformed over the last century.
Probing 'what arouses' in relation to the ethics of representation, the book investigates
the connections between arousal and pleasures of voyeurism, underscores the political
impact of aroused bodies, and explores how arousal can turn the body into a mediated
object."
Autre(s) auteur(s) : Meerzon, Yana (1973-....). Éditeur scientifique
Sujet(s) : Art de performance
Arts du spectacle
Art corporel
Sexualité dans les arts du spectacle
Identifiants, prix et caractéristiques : ISBN 9781350155664. - ISBN 1350155667. - ISBN 9781350279469 (erroné). - ISBN 9781350155657
(erroné). - ISBN 1350155632 (erroné). - ISBN 9781350155633 (erroné). - ISBN 9781350155640.
- ISBN 1350155640. - ISBN 1350155659. - ISBN 9781350155657
Identifiant de la notice : ark:/12148/cb469634169
Notice n° :
FRBNF46963416
(notice reprise d'un réservoir extérieur)
Table des matières : INTRODUCTION (Julia Listengarten, University of Central Florida, US, and Yana Meerzon,
University of Ottawa, Canada) ; SECTION ONE ; PLEASURED BODY ; Chapter 1: Violence,
Puppetness and the Female Simulacrum as Mediated Body/Object in the Central European
Avant-Garde (Tim Butler Garrett, visiting lecturer Wimbledon College of Art, UK)
; Chapter 2: Blood and Desire: Collaborating Through Arousal (Alissa Clarke, De Montfort
University, UK) ; Chapter 3: Live Lips vs. Suspended Animation: Interrogating Arousal
in the Avant-garde Performance Archive (Lara Cox, American University Paris, France)
; Chapter 4: "Upside-Down": The Rough Play of Narcissister's Avant-Porn (Rebecca Clark,
Dartmouth Society of Fellows, UK) ; SECTION TWO ; POLITICAL BODY ; Chapter 5: Hoch's
Weimar and Wilhelm: Em-Bodied Critiques of Ideology in Dadist Photomontage (J. Brandon
Pelcher, Visiting Assistant Professor, Johns Hopkins University, US) ; Chapter 6:
The Collisions of Reality Friction: Tactics of Structural Ambiguity in Christoph Schlingensief's
Bitte Liebt Osterreich (Tony Perucci, University of North Carolina, US) ; Chapter
7: Pussy Riot's Guerrillas Performances and Mediatized Images of Violence: Transgressing
Bodies, Boundaries and Ethics of Representation (Julia Listengarten, University of
Central Florida, US) ; Chapter 8: Performing Body as a Site for Feminist Theatrical
Discourse: Theatre of Anuradha Kapur (Indu Jain) ; Artistic Intervention One: "Lifeforce"
(Naila Keleta-Mae, University of Waterloo, Canada) ; SECTION THREE ; TRANS/BODY
; Chapter 9: Dali's Dream of Venus, Ripley's Odditorium, and Able-bodied Heteronormativity
at the 1939 New York World's Fair (Keri Watson, University of Central Florida) ;
Chapter 10: Catherine's Rire de la meduse: Text and Body in Hemingway's Garden of
Eden (Catherine Clark, Averett University Virginia, US) ; Chapter 11: Sacrificed
Female Bodies: Necropolitics and its Intrusion in Intimacy as an Accomplishment of
Tragedy (Selim Rauer, PhD candidate, University of Minnesota, US).
Chapter 12: Both Sides, Now: Arousing Gestures and A Dramaturgy of Beyond End-of-Life
(Alvin Eng Hui LIM, National University of Singapore, Singapore) ; SECTION FOUR
; ABJECT BODY ; Chapter 13: The Knee, the Elbow, the Face: On Body as Synecdoche
in Vladimir Nabakov's Visual Imagination (Yana Meerzon, University of Ottawa, Canada)
; Chapter 14: The Thinking Body in Handspring Puppet Company (Dawn Tracey Brandes,
Fountain School of Performing Arts at Dalhousie University, Canada) ; Chapter 15:
Transformation and Arousal: The Pleasure of Performative Indeterminacy in Persona
Theatre Company's Phaedra I ; (Avra Sidiropoulou, Open University of Cyprus, Cyprus)
; Chapter 16: Signaling Through the Flames: Media Imagery and the Embodied Empathic
Gaze (Dorita Hannah, practitioner/scholar) ; Artistic Intervention Two: The MIGRANTO
Collective: Street Performance Research Project (Artur Matuck, Karina Quintanilha
and Daniel Perseguim) ; Bibliography ; Index.
