“Dispossession: Agency, Ecology and Theatrical Reality”
TaPRA 2019 University of Exeter
Vânia Gala
Other Possible choreographies: The Potential of the Missing Performer
This talk assumes the performative conversational form in a round-table with the participants. It will be written in the way my practice is experienced, attempted: interrupted by scores and chance procedures.
I will frame questions related to the potential of withdrawal, opacity and disappearance as fundamental ideas for choreographic performance in the present time.
By approaching performance from this perspective I aim at filling in gaps resulting from the exploitative ceasura between "Nature" and " Society" (Moore, 2015) created by capitalism. For performance to focus on this caesura, on the empty interval between "Nature" and "Society" produced by exploitative capitalism is to open up performance to other alternative performances, knowledges and even concepts often "reduced" (Glissant, 1997) or ignored. Moreover, such an approach can prove productive in revealing performance's generative capacity under a time characterized by hyper presence and a compulsion to perform. As performance becomes a core feature of hyper-capitalism could a refusal to perform or a withdrawal of the performer provide alternatives or critical stance on the way we live today? What other presences,existences, knowledges have been ignored by performance because of the ineherited division of "Nature" and "Society"? How can choreography move away from the aesthetic burden object/subject divide inherited from modernism? Finally, I ask in what ways are we not as performance artists presently endeavouring in visible resistance but accomplices in the present form of capitalism?
This contribution will be taking a look at some arrangements present in the works of Bousier, Hammons, Verdonk and Jeong from this perspective and locating them under a broader performance studies perspective through the lenses of Haraway, Latour, Agamben, Glissant and Kunst's considerations.
Vânia Gala Choreographer and researcher based in London. She holds a MAC with Distinction (Trinity Laban) and is a PhD candidate at Kingston University. Collaborations as performer have involved Les Ballets C. de La B., Constanza Macras and Sonia Boyce. Recent creations include “Cooling Down Signs” a Pan- European commission by Beyond Front@ performed at Dance Week Festival (HR), D.I.D (AT), Front@ Festival (SI), Bakelit (HU). In 2019 she was awarded Best Choreography Award by Theatre Guide Awards (Portugal).
Thursday, September 5 2019
2:00pm BST
Working Group Session 3: Theatre, Performance and Philosophy
Vânia Gala
Other Possible choreographies: The Potential of the Missing Performer
This talk assumes the performative conversational form in a round-table with the participants. It will be written in the way my practice is experienced, attempted: interrupted by scores and chance procedures.
I will frame questions related to the potential of withdrawal, opacity and disappearance as fundamental ideas for choreographic performance in the present time.
By approaching performance from this perspective I aim at filling in gaps resulting from the exploitative ceasura between "Nature" and " Society" (Moore, 2015) created by capitalism. For performance to focus on this caesura, on the empty interval between "Nature" and "Society" produced by exploitative capitalism is to open up performance to other alternative performances, knowledges and even concepts often "reduced" (Glissant, 1997) or ignored. Moreover, such an approach can prove productive in revealing performance's generative capacity under a time characterized by hyper presence and a compulsion to perform. As performance becomes a core feature of hyper-capitalism could a refusal to perform or a withdrawal of the performer provide alternatives or critical stance on the way we live today? What other presences,existences, knowledges have been ignored by performance because of the ineherited division of "Nature" and "Society"? How can choreography move away from the aesthetic burden object/subject divide inherited from modernism? Finally, I ask in what ways are we not as performance artists presently endeavouring in visible resistance but accomplices in the present form of capitalism?
This contribution will be taking a look at some arrangements present in the works of Bousier, Hammons, Verdonk and Jeong from this perspective and locating them under a broader performance studies perspective through the lenses of Haraway, Latour, Agamben, Glissant and Kunst's considerations.
Vânia Gala Choreographer and researcher based in London. She holds a MAC with Distinction (Trinity Laban) and is a PhD candidate at Kingston University. Collaborations as performer have involved Les Ballets C. de La B., Constanza Macras and Sonia Boyce. Recent creations include “Cooling Down Signs” a Pan- European commission by Beyond Front@ performed at Dance Week Festival (HR), D.I.D (AT), Front@ Festival (SI), Bakelit (HU). In 2019 she was awarded Best Choreography Award by Theatre Guide Awards (Portugal).
Thursday, September 5 2019
2:00pm BST
Working Group Session 3: Theatre, Performance and Philosophy
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