The Present Author - Who Speaks in Performance?
The Present Author - Who Speaks in Performance?
23,70 €
Sense existències ara
Rep-lo a casa en una setmana per Missatger o Eco Enviament*
With contributions by: Jerome Bel, Busy Rocks, deufert&plischke, Carola Dertnig, Ivo Dimchev, Alice Chauchat / Mette Ingvartsen / Krõõt Juurak / Petra Sabisch for everybodys, Christian Falsnaes, Simone Forti, Jakob Lena Knebel, Christine Lemke / Stefanie Seibold, LIGNA, Questions, Alex Martinis Roe, and Isabelle Schad.
The publication THE PRESENT AUTHOR: Who Speaks in Performance? brings together positions from artists, who in their artistic works as well as in their performative and choreographic practices ask the question, “Who speaks in performance?” In their contributions, the artists speak for themselves, for and about their own definition of authorship; they broach topics such as the meaning of their own artistic productions and position themselves in various relations to it. By appropriating the term authorship – which usually serves as a category for analysis – the functions, and the functioning, of this category within and through one’s own practice become negotiable.
The contributions range from artistic works to performance notations and reflections about work methods and performative strategies. They relate to their performances in various ways and set the stage on which the relationships between text and performance are negotiated. It is the question of authorship in the performing arts arts whose particularity is discussed and whose diversity becomes comprehensible.
In her artistic publication TRANSLATE YOURSELF! A Performance Reader for Staging (2009), the publisher Lilo Nein already explored the relationship between text and performance. She now continues the discourse on authorship in performance and expands upon it through the addition of new aspects and approaches.
The publication THE PRESENT AUTHOR: Who Speaks in Performance? brings together positions from artists, who in their artistic works as well as in their performative and choreographic practices ask the question, “Who speaks in performance?” In their contributions, the artists speak for themselves, for and about their own definition of authorship; they broach topics such as the meaning of their own artistic productions and position themselves in various relations to it. By appropriating the term authorship – which usually serves as a category for analysis – the functions, and the functioning, of this category within and through one’s own practice become negotiable.
The contributions range from artistic works to performance notations and reflections about work methods and performative strategies. They relate to their performances in various ways and set the stage on which the relationships between text and performance are negotiated. It is the question of authorship in the performing arts arts whose particularity is discussed and whose diversity becomes comprehensible.
In her artistic publication TRANSLATE YOURSELF! A Performance Reader for Staging (2009), the publisher Lilo Nein already explored the relationship between text and performance. She now continues the discourse on authorship in performance and expands upon it through the addition of new aspects and approaches.
