Christel Stalpaert – författare

Les Ballets C de la B was founded by Alain Platel in 1984. Since then it has become a company that enjoys great success at home and abroad. Over the years, Platel has developed a unique choreographic oeuvre. His motto, ‘This dance is for the world and the world is for everyone', reveals a deep social and political commitment.Through the three topics of emotions, gestures and politics, this book unravels the choreopolitics of Platel’s Les Ballets C de la B. His choreopolitics go beyond conveying a (political) message because rather than defending one opinion, Platel is more concerned about the exposure of the complexity within the debate itself.Highly respected scholars from different fields contribute to this book to provide an interdisciplinary perspective on the intense emotions, the damaged narratives, and the precarious bodies in Platel’s choreographic oeuvre.

Les Ballets C de la B was founded by Alain Platel in 1984. Since then it has become a company that enjoys great success at home and abroad. Over the years, Platel has developed a unique choreographic oeuvre. His motto, ''This dance is for the world and the world is for everyone'', reveals a deep social and political commitment.Through the three topics of emotions, gestures and politics, this book unravels the choreopolitics of Platel''s Les Ballets C de la B. His choreopolitics go beyond conveying a (political) message because rather than defending one opinion, Platel is more concerned about the exposure of the complexity within the debate itself. Highly respected scholars from different fields contribute to this book to provide an interdisciplinary perspective on the intense emotions, the damaged narratives, and the precarious bodies in Platel''s choreographic oeuvre.

Les Ballets C de la B was founded by Alain Platel in 1984. Since then it has become a company that enjoys great success at home and abroad. Over the years, Platel has developed a unique choreographic oeuvre. His motto, ''This dance is for the world and the world is for everyone'', reveals a deep social and political commitment.Through the three topics of emotions, gestures and politics, this book unravels the choreopolitics of Platel''s Les Ballets C de la B. His choreopolitics go beyond conveying a (political) message because rather than defending one opinion, Platel is more concerned about the exposure of the complexity within the debate itself. Highly respected scholars from different fields contribute to this book to provide an interdisciplinary perspective on the intense emotions, the damaged narratives, and the precarious bodies in Platel''s choreographic oeuvre.

Les Ballets C de la B was founded by Alain Platel in 1984. Since then it has become a company that enjoys great success at home and abroad. Over the years, Platel has developed a unique choreographic oeuvre. His motto, ‘This dance is for the world and the world is for everyone', reveals a deep social and political commitment.Through the three topics of emotions, gestures and politics, this book unravels the choreopolitics of Platel’s Les Ballets C de la B. His choreopolitics go beyond conveying a (political) message because rather than defending one opinion, Platel is more concerned about the exposure of the complexity within the debate itself.Highly respected scholars from different fields contribute to this book to provide an interdisciplinary perspective on the intense emotions, the damaged narratives, and the precarious bodies in Platel’s choreographic oeuvre.

Recent technological and scientific developments have demonstrated a condition that has already long been upon us. We have entered a posthuman era, an assertion shared by an increasing number of thinkers such as N. Katherine Hayles, Rosi Braidotti, Donna Haraway, Bruno Latour, Richard Grusin, and Bernard Stiegler. The performing arts have reacted to these developments by increasingly opening up their traditionally ‘human’ domain to non-human others. Both philosophy and performing arts thus question what it means to be human from a posthumanist point of view and how the agency of non-humans – be they technology, objects, animals, or other forms of being – ‘works’ on both an ontological and performative level. The contributions in this volume brings together scholars, dramaturgs, and artists, uniting their reflections on the consequences of the posthuman condition for creative practices, spectatorship, and knowledge.

Recent technological and scientific developments have demonstrated a condition that has already long been upon us. We have entered a posthuman era, an assertion shared by an increasing number of thinkers such as N. Katherine Hayles, Rosi Braidotti, Donna Haraway, Bruno Latour, Richard Grusin, and Bernard Stiegler. The performing arts have reacted to these developments by increasingly opening up their traditionally ‘human’ domain to non-human others. Both philosophy and performing arts thus question what it means to be human from a posthumanist point of view and how the agency of non-humans – be they technology, objects, animals, or other forms of being – ‘works’ on both an ontological and performative level. The contributions in this volume brings together scholars, dramaturgs, and artists, uniting their reflections on the consequences of the posthuman condition for creative practices, spectatorship, and knowledge.

Recent technological and scientific developments have demonstrated a condition that has already long been upon us. We have entered a posthuman era, an assertion shared by an increasing number of thinkers such as N. Katherine Hayles, Rosi Braidotti, Donna Haraway, Bruno Latour, Richard Grusin, and Bernard Stiegler. The performing arts have reacted to these developments by increasingly opening up their traditionally ‘human’ domain to non-human others. Both philosophy and performing arts thus question what it means to be human from a posthumanist point of view and how the agency of non-humans – be they technology, objects, animals, or other forms of being – ‘works’ on both an ontological and performative level. The contributions in this volume brings together scholars, dramaturgs, and artists, uniting their reflections on the consequences of the posthuman condition for creative practices, spectatorship, and knowledge.

This issue of Theater Topics explores the theme of mutating and adapting media in its relation with theatre and performance.

The book presents an interdisciplinary collection of analyses that discuss the impact of market economy on our culture in the post-Berlin Wall era. It contains two parts. The first focuses on the commercialisation of science and education. The second elaborates on the multiple and diverse relation between art and capital.

The book presents an interdisciplinary collection of analyses that discuss the impact of market economy on our culture in the post-Berlin Wall era. It contains two parts. The first focuses on the commercialisation of science and education. The second elaborates on the multiple and diverse relation between art and capital.

The book presents an interdisciplinary collection of analyses that discuss the impact of market economy on our culture in the post-Berlin Wall era. It contains two parts. The first focuses on the commercialisation of science and education. The second elaborates on the multiple and diverse relation between art and capital.

Performances dealing with histories of violence and trauma in contemporary societies.In this book, scholars and artists from different fields such as performance studies, cultural and visual studies, psychology and performance art address how performances and performance practices engage with histories of violence and trauma in contemporary societies. They explore performance practices as alternative approaches to transitional justice schemes, as embodied encounters with witnesses inside and outside rehearsal spaces, and as research environments for artists working on intergenerational trauma, the legacies of colonialism and migration. The collection offers new ways of seeing, healing and remembering violence and trauma in and through contemporary performances. It challenges common assumptions about dominant and silenced narratives, as well as precarious and resilient bodies that embody performances of historical and ongoing violence and trauma.