Homemade academic circus : idiosyncratically embodied explorations into artistic research and circus performance


Auteurs : Damkjaer, Camilla (Auteur)

Lieu de publication : Winchester, UK ; Washington, USA

Éditeur : Iff Brooks

Date de publication : 2016

ISBN : 9781782799023

Langue : Anglais

Description : 211 p. ; 22 cm.

Notes : Bibliogr. : p. 202-211.

Sujets :
Arts du cirque - Philosophie et théorie
Arts de cirque - Recherche et développement
Acrobatie - Philosophie et théorie
Art clownesque - Philosophie et théorie
Représentation du corps circassien
Corde lisse - Philosophie et théorie
Deleuze, Gilles [philosophe]
Guattari, Félix [philosophe]
Rhizome (Philosophie)
Arts du cirque - Aspect symbolique
Arts de la marionnette - Philosophie et théorie
Études sur le genre
Stéréotypes de genre
Théorie queer et arts du cirque
Textes de cirque
Dramaturgie circassienne
Arts du cirque - Processus de création
Processus de création - Recherche

Dépouillement du document :
1. Introduction
A.Meeting the professional circus amateur
a. Outline of a homemade academic circus

B. A portrait and history of a professional circus amateur
a. "Professional circus amateur" or "academic freak"
b. Some fast-forwarded detours into the creation of the professional circus amateur
c. So who then is the professional circus amateur (sometimes knows as the academic freak)?
d. Some historical layers of the amateur
e. Why put the professional circus amateur on stage?
f.The amateur's post-modern redemption?
g. Mundane movement or virtuosity
h. I consider it "work"

C. The questions posed by the professional circus amateur - and how to answer them
a. Research questions addressed in my home academic circus
b.The structure of this attempt at answering

2. Context, Methodology and (some) Theory about homemade academic circus performance
A. Contexte : Amidst a paradigm shift
a. From theory to pratice : Approching artistic research
b. Defining artistic research - and homemade academic circus
c. A paradigm shift - reactivating historical transformations
d. Circus and artistic research
e. Discursive fomation and the production of knowledge

B. Methodological questions in the in-between
a. The way followed or the way to follow
b. The position of the researcher
c. Research as embodied experience
d. The function of writing
e. The relation to theory

C. Some aspect of theoretical basis of homemade academic circus
a. Three ways of thinking
b. The professional circus amateur's ways of working
c. Circus art as a reflective pratice
d. Putting thought into movement

3. Ropresentations and Rhizomes
a. "Ropresentation" : A conference paper

A. Returning to the problem of representation ; Haunted by r...
a. What is representation?
b. Representation in dance and dance studies
c.(Non)representation in contemporary choreography
d. Representation and corcus performance
e. Representation and rope

B.Working with "Ropresentation" in rope and on the floor
a. The basic structure
b.The rope sequence
c. Kill your darling...
d. Becoming clear - simplicity!
e. Those "sacred" moments

C. Auto-analysis of the representational layers of "Ropresentation"
a. Auto-analysis - reopening the form, encountering new questions
b.The representational difficulties of the lecture-performance
c. Some modes of representation in rope
d. Representing the marionette
e. Marionette an beach birds
f. Cunningham - ising for real

D. Representing the rhizome or rhizomizing representation
a. Undoing the hierarchy of the marionette - structure
b.Revisiting Heinrich von Kleist's marionette
c. The strings of the rope
d.The rhizomatic tail
e. A vertical multiplicity

E. Philosophy and physicality
a. The transposition from philosophie to rope
b. THe pragmatism of pratice ant the particular
c.The rope as a creative obstacle
d. Returning to the text
e. Multiple marionettes - orwho is really in charge?

4. Becoming Failure or Failing Becoming
A. In the third person
a. Performative modes and the search for a subject of enunciation

B. In the first person
a. Repeated failures - writing and embodied knowledge
b. Gender, Clown and Becoming

C. The techniques of failure
a. Becoming parody
b. A short and naïve digression : what is clowning?
c. The technique of clowning
d.Your clown
e. "Complicité", connecting and reactivity
f. Play
g. The game and the "exploit"
h. Failing or "the flop"

D. Failing to the clown technique?
a. Structural failure and performing failure
b. Looking for my clown state
c. Playong in front of or with the audience
d. Game and the "exploit"

E. Gender and circus - repetition and failure
a. A paradoxical gender history
b. Gender hierarchies in circus techniques - hetero-normative difficulties
c. Sex and gender in the circus
d. Confronting the individual body in "The Representation Gender"
e. Stereotypes and humor
f. Sex, gender and clowning in "The Ropresentation of Gender"
g. Performativity and repetition in clowning
h. The identity of the clown and the struggle with non-substantial substance?

F. Faling becoming
a. Deleuze&Guattari and Queer Theory
b. The concept of becoming
c. Returning to the text
d. Circus disciplines beyond identity
e. Becoming minor/becoming molecular
f. Becoming movement
g. Between figures, words and movement
h. Pessimism or utopia?

G. At the end of the rope : failing horizontally
a. Failing for real
b. Movement, stillness and comedy - Bergson revisited
c. Movement and clowning
d.Tragedy and comedy in the choices and constraints of the professional circus amateur

5. "Cirtournelle for Rope, Podium and Boxes" -- or: this is not a lecture
a. The drama of "Cirtournelle for Rope, Podium and Boxes"

A. Part one : Fixing a point in chaos
a. Necessity and circumstances
b. A point of frustration
c. Performance text - attempt number 12
d. The text problem
e. The concept of the refrain
f. Finding the expressivity of the circus material

B. Part two : Creating a home
a. Creating relations - the circus objectis and their dramaturgy
b. Constructing a rhythm within each part and across parts
c. Meta-dramaturgy becomes physical : The objects start revealing the process
d. The circus action - and the specificity of organizing it

C. Part three : Going beyond
a. Returning to the research quesions
b. Rhythm - a qualitative consequence of very concrete matters
c. The refrain and time
d. Deleuze and Guattari go classical - or?
e. Defining the dramaturgy of my Homemade Academic Circus
f. Beyond dramaturgy - Everywhere and nowhere
g. Sensation and abstraction, affect and concept

6. Conclusion
a. Professional circus or anonymous intellectual?
b. Consequences of the Homemade Academic Circus
c. Rope thinking and methodology - some comments
d. The heterogenesis of thinking
e. Small-scale heterogenesis of my thinking in homemade academic circus
f. Confronting your own doxa
g. Rope-concreteness and a pedagogy of the senses

Résumé :
This book takes its starting point in a rare experiment, that of an academic researcher attempting to learn to do circus. What happens to the knowledge of the performance theoretician when physically engaging with the circus arts? One of the (im)material outcomes of this experiment is what the author calls "homemade academic circus” - a series of lecture-performances on performance-related academic questions, presented and discussed through circus disciplines. The interest of homemade academic circus, and the analysis of it presented in this book, lies not only in the fact that it is a form of curiosity within academic research. It is also worth noting that the main character in this experiment (sometimes known as the “professional amateur” or the “academic freak”, the alter egos of the researcher) goes through the opposite process of what many artists within artistic and practice-based research experience today. What happens if, rather than going from art to academia, one would go from academia to art? Which cultural and paradigmatic shocks would that produce, and how would that influence the researcher’s understanding of knowledge and thinking? [editor summary]

Collection : Bibliothèque de l'École nationale de cirque

Localisation : Bibliothèque

Cote : 791.301 D161h 2016

  • Ex. 1 — disponible
  • Ex. 2 — disponible
  • Ex. 3 — disponible


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