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Rethinking the political : art, work and the body in the contemporary circus

Auteurs : Stephens, Lindsay (Auteur)

Lieu de publication : Toronto

Éditeur : Université de Toronto

Date de publication : 2012

Langue : Anglais

Description : 344 p. : ill. ; 28 cm

Notes : Thèse présentée comme exigence partielle au doctorat en philosophie, de l'Université de Toronto.

Sujets :
Arts du cirque - Philosophie et théorie
Artistes de cirque - Canada
Arts du cirque - Aspect sociologique
Nouveau cirque
Arts du cirque - Aspect économie
Arts du cirque - Aspect culturel
Représentation du corps circassien

Dépouillement du document :

1- Introduction
1.1- Why Circus?
1.2- Clowns and Aerialists
1.3- Overall Patterns

2- Methods and Embodied Learning
2.1- Triangulation of Traditional and Non Traditional Practices
2.2- Participant Observation
2.3- Scientist as Artist
2.4- Empathy and Intimacy
2.5- Reflexivity

3- The Work that Art Does
3.1- Art as Structural Oppression: Bourdieu
3.2- The Artist as a Beacon of Social Change
3.3- Equality Through Art: Rancière
3.4- Workers in the Nerve Centre of Capitalism: Lazzarato
3.5- The Particular Features of the Artist that are Being Mobilized: Virno
3.6- The Role of the Artist Today

4- Art and Work in the Circus
4.1- Why Circus? Why Now?
4.2- The Precarity and Flexibility of Circus Production in Toronto
4.3- A Little More Context
4.4- An Enduring Distinction Between Art and Work
4.5- Art, Aesthetics, and Affect
4.6- What Work is Art Doing for Performers?
4.7- What Work Could the Term « Art» Do?

5- Foucault and Discipline in the Circus
5.1- Health, Beauty, Sexuality and Bodily Ideals
5.2- Using and Obscuring Race
5.3- Desirable Aesthetic Movement
5.4- Emotional Discipline
5.5- The Cultural Project of the Contemporary Aerial Body
5.6- Disciplined Clowns
5.7- Emotional Labour in the Contemporary Moment
5.8- The Limits of Discipline
5.9- The Body Speaks Back
5.10- Agency or the Negotiation of Subjectivity with Foucault

6- Becoming Bodies, Contributions to a Cartography of Virtualities
6.1- Distinguishing Between the Meaning of Apparently Similar Practices
6.2- How Do We Operationalize These Politics?
6.3- Fluid, Flexible, or Unpinned Subjectivity
6.4- Body Without Organs
6.5- Knowing in the Body: Habit vs. the New
6.6- Affective Labour and Desiring Subjects
6.7- Being With, « Respecere »

Résumé :

This dissertation is about the circus, but it is also about how we think through a range of possibilities for individual and social change in the contemporary post-Fordist or neoliberal moment. In the last 40 years geographers, along side other scholars, have documented an increasingly close relationship between social, political, and economic aspects of life in western countries. These shifts have raised concerns over shrinking spaces of resistance and loss of counter hegemonic voices, and increased interest in transgressive or ‘outside’ spaces and bodies as sites of resistance, escape, and social change. Two contested sites that seem to offer promise for resistance, yet are simultaneously critiqued for their participation in dominant discourses, are art (or creative labour) and the body. Despite prolific literatures on these topics in geography in the last decade, links between creative labour, theories of embodiment, and the living practices of cultural workers are still far too rare. To address this I examine the intersection of theories of research, labour, art, discipline, embodiment and politics, understood through the daily practices of circus performers doing highly physical and embodied work. I focus in particular on clowns and aerialists, performance forms to which I have outstanding access as a performer in these genres. I addition to extensive participant observation over several years of performance work, my research is based on 26 elite interviews with key performers in the Canadian circus community, and an ephemeral archive of visual and textual materials. The resonance of questions about the nature of social research, art and work, and disciplined and fluid subjectivities, opens up new space for thinking across often-disconnected spheres. I believe the presence of circus performers’ lived experiences and my own embodied knowledge throughout this analysis deepens our understanding of political possibilities across many different spaces. [author resume]

Collection : Bibliothèque de l'École nationale de cirque

Localisation : Bibliothèque

Cote : 791.301 S832r 2012

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