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This book offers a timely discussion about the interventions and tensions between two contested and contentious fields, performance and phenomenology, with international case studies that map an emerging 21st century terrain of critical and performance practice. Building on the foundational texts of both fields that established the performativity of perception and cognition, Performance and Phenomenology continues a tradition that considers experience to be the foundation of being and meaning. Acknowledging the history and critical polemics against phenomenological methodology and against performance as a field of study and category of artistic production, the volume provides both an introduction to core thinkers and an expansion on their ideas in a wide range of case studies. Whether addressing the use of dead animals in performance, actor training, the legal implications of thinking phenomenologically about how we walk, or the intertwining of digital and analog perception, each chapter explores a world comprised of embodied action and thought. The established and emerging scholars contributing to the volume develop insights central to the phenomenological tradition while expanding on the work of contemporary theorists and performers. In asking why performance and phenomenology belong in conversation together, the book suggests how they can transform each other in the process and what is at stake in this transformation.

Performing arts --- Theater --- Philosophy --- Performing arts - Philosophy --- Theater - Philosophy

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n recent years, the post structuralist theories seem to have created a split in theatrological research. But, as André Helbo analyses in this book , a dialectic theory of the semiotic and the symbolic exchange bring to light a specific paradigm. From his wide experience as a semiotician and a theatrologist, the author has developed an analysis for the theory of spectacle. Focusing his study on a critical theory of the performing arts, and examining the fundamental controversies, he then offers new perspectives and new instruments of analysis: the social aspects, readability/visibility, coheren

Performing arts --- Semiotics --- Semiotics. --- Philosophy. --- Philosophy --- Performing arts - Semiotics --- Performing arts - Philosophy

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Pourquoi les artistes du début du vingtième siècle allaient-ils plus souvent au cirque qu'au théâtre ? Quel nouveau pacte s'est-il noué là ? Le cirque, considéré comme un art mineur et populaire, répond au nouveau système du monde démocratique. Il est par essence le spectacle de la vie moderne, et se lit comme le négatif de l'oeuvre d'art totale aux sources de la pluridisciplinarité artistique. Car, le cirque moderne ne sert aucun autre objectif que celui de l'action même.Mais cela suffit-il pour dégager le spectateur de la fascination hypnotique de l'art total ? Une interrogation incontournable s'il revient en mémoire l'instrumentalisation de l'esthétique par le politique, autorisée par ce processus artistique. A travers une histoire kaléidoscopique des arts, qui voit l'enquête remonter aux sources de la modernité, Du Théâtre au Cirque du monde interroge la nouvelle situation qui a vu les artistes investir l'action selon des objectifs bien différents.Le spectacle du cirque avec les qualités que ses numéros convoquent en fournit, bien plus justement que le théâtre, la matrice à partir de quoi une échappée aux nihilismes des deux derniers siècles s'avère envisageable. Où l'on verra à l'observation de diverses stratégies artistiques que les conditions d'une démobilisation dans le temps même de l'action sont encore celles qui favorisent l'éclosion d'un acte libre, dans le respect de soi et le respect de l'autre.

Circus --- Modernism (Aesthetics) --- Cirque --- Modernisme (Esthétique) --- History --- Histoire --- Performing arts --- Philosophy --- Modernisme (Esthétique) --- Arts du spectacle --- Philosophie. --- Circus - Philosophy --- Performing arts - Philosophy

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"Stanley Cavell, just recently deceased, was, by many accounts America's greatest philosophical thinker of film. Like Bazin in France and Perkins in England, Cavell did not just transform the American capacity to take film seriously as a subject for philosophical criticism, he had first to invent that legitimacy. Part of his efforts involved the creation of several key-now canonical-texts in film studies, among them the seminal The World Viewed along with Pursuits of Happiness and Contesting Tears. The present collection offers a concerted group effort to analyze and reflect anew upon Cavell's still-scintillating contributions to the very thought of film-and its philosophical significance. Mounted by some of today's most compelling writers on cinema, these investigations take careful account of Cavell's legacy, once and ongoing. In these pages, seasoned scholars and emerging talent artfully and expertly explore what precisely Cavell bequeathed- what endures, what stands in need of revision or updating, and how his writing remains vital and essential to any contemporary approach to the philosophy of film"--

Cavell, Stanley, --- Criticism and interpretation. --- Performing arts --- Motion pictures --- Aesthetics --- Philosophy --- Criticism and interpretation --- Performing arts - Philosophy --- Motion pictures - Philosophy --- Cavell, Stanley, - 1926-2018 - Criticism and interpretation --- Cavell, Stanley, - 1926-2018

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Ce livre est un livre de colère. On nous casse le théâtre. On nous casse l'opéra. La mise en scène est devenue totalitaire et le metteur en scène un dictateur. Ses fantasmes ont le devoir de s'imposer à tous ceux qui regardent comme à ceux qui jouent, mais plus particulièrement à l'oeuvre. Le Paradoxe du comédien de Diderot est-il toujours vrai ? Faut-il y ajouter un Paradoxe du spectateur, un Paradoxe du musicien ? Puisque les musiciens restituent avec de plus en plus de fidélité les chef-d'oeuvre de l'opéra, exactement au moment où les metteurs en scène s'acharnent à les défigurer. Mais depuis peu, le public se révolte. On ovationne les musiciens, on siffle les malfaisants qui polluent la scène à coups de millions d'euros. Vont-ils comprendre ? Pas sûr. Alors il faut gueuler plus fort. Le public a toujours raison.

Performing arts --- France --- Philosophy --- Performing arts - Philosophy --- Theaters --- Theater --- Théâtre --- Stage-setting and scenery --- Production and direction --- Décors et mise en scène --- Production et mise en scène --- Performing arts. --- Philosophy.