Gerald Siegmund – författare

In recent decades, dance has become a vehicle for querying assumptions about what it means to be embodied, in turn illuminating intersections among the political, the social, the aesthetical, and the phenomenological. The Oxford Handbook of Dance and Politics edited by internationally lauded scholars Rebekah Kowal, Gerald Siegmund, and the late Randy Martin presents a compendium of newly-commissioned chapters that address the interdisciplinary and global scope of dance theory - its political philosophy, social movements, and approaches to bodily difference such as disability, postcolonial, and critical race and queer studies. In six sections 30 of the most prestigious dance scholars in the US and Europe track the political economy of dance and analyze the political dimensions of choreography, of writing history, and of embodied phenomena in general. Employing years of intimate knowledge of dance and its cultural phenomenology, scholars urge readers to re-think dominant cultural codes, their usages, and the meaning they produce and theorize ways dance may help to re-signify and to re-negotiate established cultural practices and their inherent power relations. This handbook poses ever-present questions about dance politics-which aspects or effects of a dance can be considered political? What possibilities and understandings of politics are disclosed through dance? How does a particular dance articulate or undermine forces of authority? How might dance relate to emancipation or bondage of the body? Where and how can dance articulate social movements, represent or challenge political institutions, or offer insight into habits of labor and leisure? The handbook opens its critical terms in two directions. First, it offers an elaborated understanding of how dance achieves its politics. Second, it illustrates how notions of the political are themselves expanded when viewed from the perspective of dance, thus addressing both the relationship between the politics in dance and the politics of dance. Using the most sophisticated theoretical frameworks and engaging with the problematics that come from philosophy, social science, history, and the humanities, chapters explore the affinities, affiliations, concepts, and critiques that are inherent in the act of dance, and questions about matters political that dance makes legible.

In recent decades, dance has become a vehicle for querying assumptions about what it means to be embodied, in turn illuminating intersections among the political, the social, the aesthetical, and the phenomenological. The Oxford Handbook of Dance and Politics edited by internationally lauded scholars Rebekah Kowal, Gerald Siegmund, and the late Randy Martin presents a compendium of newly-commissioned chapters that address the interdisciplinary and global scope of dance theory - its political philosophy, social movements, and approaches to bodily difference such as disability, postcolonial, and critical race and queer studies. In six sections 30 of the most prestigious dance scholars in the US and Europe track the political economy of dance and analyze the political dimensions of choreography, of writing history, and of embodied phenomena in general. Employing years of intimate knowledge of dance and its cultural phenomenology, scholars urge readers to re-think dominant cultural codes, their usages, and the meaning they produce and theorize ways dance may help to re-signify and to re-negotiate established cultural practices and their inherent power relations. This handbook poses ever-present questions about dance politics-which aspects or effects of a dance can be considered political? What possibilities and understandings of politics are disclosed through dance? How does a particular dance articulate or undermine forces of authority? How might dance relate to emancipation or bondage of the body? Where and how can dance articulate social movements, represent or challenge political institutions, or offer insight into habits of labor and leisure? The handbook opens its critical terms in two directions. First, it offers an elaborated understanding of how dance achieves its politics. Second, it illustrates how notions of the political are themselves expanded when viewed from the perspective of dance, thus addressing both the relationship between the politics in dance and the politics of dance. Using the most sophisticated theoretical frameworks and engaging with the problematics that come from philosophy, social science, history, and the humanities, chapters explore the affinities, affiliations, concepts, and critiques that are inherent in the act of dance, and questions about matters political that dance makes legible.

In recent decades, dance has become a vehicle for querying assumptions about what it means to be embodied, in turn illuminating intersections among the political, the social, the aesthetical, and the phenomenological. The Oxford Handbook of Dance and Politics edited by internationally lauded scholars Rebekah Kowal, Gerald Siegmund, and the late Randy Martin presents a compendium of newly-commissioned chapters that address the interdisciplinary and global scope of dance theory - its political philosophy, social movements, and approaches to bodily difference such as disability, postcolonial, and critical race and queer studies. In six sections 30 of the most prestigious dance scholars in the US and Europe track the political economy of dance and analyze the political dimensions of choreography, of writing history, and of embodied phenomena in general. Employing years of intimate knowledge of dance and its cultural phenomenology, scholars urge readers to re-think dominant cultural codes, their usages, and the meaning they produce and theorize ways dance may help to re-signify and to re-negotiate established cultural practices and their inherent power relations. This handbook poses ever-present questions about dance politics-which aspects or effects of a dance can be considered political? What possibilities and understandings of politics are disclosed through dance? How does a particular dance articulate or undermine forces of authority? How might dance relate to emancipation or bondage of the body? Where and how can dance articulate social movements, represent or challenge political institutions, or offer insight into habits of labor and leisure? The handbook opens its critical terms in two directions. First, it offers an elaborated understanding of how dance achieves its politics. Second, it illustrates how notions of the political are themselves expanded when viewed from the perspective of dance, thus addressing both the relationship between the politics in dance and the politics of dance. Using the most sophisticated theoretical frameworks and engaging with the problematics that come from philosophy, social science, history, and the humanities, chapters explore the affinities, affiliations, concepts, and critiques that are inherent in the act of dance, and questions about matters political that dance makes legible.

In recent decades, dance has become a vehicle for querying assumptions about what it means to be embodied, in turn illuminating intersections among the political, the social, the aesthetical, and the phenomenological. The Oxford Handbook of Dance and Politics edited by internationally lauded scholars Rebekah Kowal, Gerald Siegmund, and the late Randy Martin presents a compendium of newly-commissioned chapters that address the interdisciplinary and global scope of dance theory - its political philosophy, social movements, and approaches to bodily difference such as disability, postcolonial, and critical race and queer studies. In six sections 30 of the most prestigious dance scholars in the US and Europe track the political economy of dance and analyze the political dimensions of choreography, of writing history, and of embodied phenomena in general. Employing years of intimate knowledge of dance and its cultural phenomenology, scholars urge readers to re-think dominant cultural codes, their usages, and the meaning they produce and theorize ways dance may help to re-signify and to re-negotiate established cultural practices and their inherent power relations. This handbook poses ever-present questions about dance politics-which aspects or effects of a dance can be considered political? What possibilities and understandings of politics are disclosed through dance? How does a particular dance articulate or undermine forces of authority? How might dance relate to emancipation or bondage of the body? Where and how can dance articulate social movements, represent or challenge political institutions, or offer insight into habits of labor and leisure? The handbook opens its critical terms in two directions. First, it offers an elaborated understanding of how dance achieves its politics. Second, it illustrates how notions of the political are themselves expanded when viewed from the perspective of dance, thus addressing both the relationship between the politics in dance and the politics of dance. Using the most sophisticated theoretical frameworks and engaging with the problematics that come from philosophy, social science, history, and the humanities, chapters explore the affinities, affiliations, concepts, and critiques that are inherent in the act of dance, and questions about matters political that dance makes legible.

Staging Monstrous Bodies: Questioning Normative Orders brings together global perspectives from leading and emerging scholars to explore the intersections of monster studies and performances studies.Divided into three parts, the volume explores the connection between monstrosity and performance, such as representations of violence, gender and sexuality contexts, disability studies perspectives, anti-racism and post-colonial issues, and monstrosity as an artistic practice and dramaturgical process, which discursively cross-pollinate the different sections of the book. The first section, The Mise-En-Scène of Monstrous Bodies, examines queer-feminist performance, bodybuilding as monstrous, monstrosity in costume-making and freak discourse in Latin America. Section two, De-Montage of the Monstrous, moves on to look at the historicization of medieval monsters and staging (in)justice and monstrosity. The third and final part, Monstrous Orders, includes messages on the rise of neo-Nazism in Europe, monstrosity in dance and an analysis of monstrosity in the writings of Diderot. Each section includes a roundtable discussion of what new theses, questions, and intellectual motifs are raised by the corresponding chapters.With its global scope, Staging Monstrous Bodies is an essential book for theater, dance, and performance students at all levels, as well as for scholars in these fields.

Staging Monstrous Bodies: Questioning Normative Orders brings together global perspectives from leading and emerging scholars to explore the intersections of monster studies and performances studies.Divided into three parts, the volume explores the connection between monstrosity and performance, such as representations of violence, gender and sexuality contexts, disability studies perspectives, anti-racism and post-colonial issues, and monstrosity as an artistic practice and dramaturgical process, which discursively cross-pollinate the different sections of the book. The first section, The Mise-En-Scène of Monstrous Bodies, examines queer-feminist performance, bodybuilding as monstrous, monstrosity in costume-making and freak discourse in Latin America. Section two, De-Montage of the Monstrous, moves on to look at the historicization of medieval monsters and staging (in)justice and monstrosity. The third and final part, Monstrous Orders, includes messages on the rise of neo-Nazism in Europe, monstrosity in dance and an analysis of monstrosity in the writings of Diderot. Each section includes a roundtable discussion of what new theses, questions, and intellectual motifs are raised by the corresponding chapters.With its global scope, Staging Monstrous Bodies is an essential book for theater, dance, and performance students at all levels, as well as for scholars in these fields.

Staging Monstrous Bodies: Questioning Normative Orders brings together global perspectives from leading and emerging scholars to explore the intersections of monster studies and performances studies.Divided into three parts, the volume explores the connection between monstrosity and performance, such as representations of violence, gender and sexuality contexts, disability studies perspectives, anti-racism and post-colonial issues, and monstrosity as an artistic practice and dramaturgical process, which discursively cross-pollinate the different sections of the book. The first section, The Mise-En-Scene of Monstrous Bodies, examines queer-feminist performance, bodybuilding as monstrous, monstrosity in costume-making and freak discourse in Latin America. Section two, De-Montage of the Monstrous, moves on to look at the historicization of medieval monsters and staging (in)justice and monstrosity. The third and final part, Monstrous Orders, includes messages on the rise of neo-Nazism in Europe, monstrosity in dance and an analysis of monstrosity in the writings of Diderot. Each section includes a roundtable discussion of what new theses, questions, and intellectual motifs are raised by the corresponding chapters.With its global scope, Staging Monstrous Bodies is an essential book for theater, dance, and performance students at all levels, as well as for scholars in these fields.

Staging Monstrous Bodies: Questioning Normative Orders brings together global perspectives from leading and emerging scholars to explore the intersections of monster studies and performances studies.Divided into three parts, the volume explores the connection between monstrosity and performance, such as representations of violence, gender and sexuality contexts, disability studies perspectives, anti-racism and post-colonial issues, and monstrosity as an artistic practice and dramaturgical process, which discursively cross-pollinate the different sections of the book. The first section, The Mise-En-Scene of Monstrous Bodies, examines queer-feminist performance, bodybuilding as monstrous, monstrosity in costume-making and freak discourse in Latin America. Section two, De-Montage of the Monstrous, moves on to look at the historicization of medieval monsters and staging (in)justice and monstrosity. The third and final part, Monstrous Orders, includes messages on the rise of neo-Nazism in Europe, monstrosity in dance and an analysis of monstrosity in the writings of Diderot. Each section includes a roundtable discussion of what new theses, questions, and intellectual motifs are raised by the corresponding chapters.With its global scope, Staging Monstrous Bodies is an essential book for theater, dance, and performance students at all levels, as well as for scholars in these fields.

This study is the first monograph on the work of French choreographer Jérôme Bel, following his artistic trajectory from the beginning of his career as a choreographer in 1994 to his most recent piece in 2016. It contains an overview and in-depth analysis of all of his choreographies, from Nom donné par l’auteur to Disabled Theatre, and provides a theoretical reflection on their theatrical nature.Bel has developed a singular discourse on dance that has often been labelled 'conceptual'.  By reducing the stage elements in his performances to a minimum, his work explores the implications of dance as an art form that has, since the heyday of modernism, based its guiding principles on the laws of nature. Bel addresses the question of power relations in dance by working through the questions of authorship and various forms of subjectivity dance produces. Offering a unique opportunity to ground seemingly abstract academic theories in a specific embodied artistic practice, this study explores the intersection between artistic practice and theory.

This study is the first monograph on the work of French choreographer Jérôme Bel, following his artistic trajectory from the beginning of his career as a choreographer in 1994 to his most recent piece in 2016. It contains an overview and in-depth analysis of all of his choreographies, from Nom donné par l’auteur to Disabled Theatre, and provides a theoretical reflection on their theatrical nature.Bel has developed a singular discourse on dance that has often been labelled ''conceptual''.  By reducing the stage elements in his performances to a minimum, his work explores the implications of dance as an art form that has, since the heyday of modernism, based its guiding principles on the laws of nature. Bel addresses the question of power relations in dance by working through the questions of authorship and various forms of subjectivity dance produces. Offering a unique opportunity to ground seemingly abstract academic theories in a specific embodied artistic practice, this study explores the intersection between artistic practice and theory.

This book assembles the contributions to the international symposium Narrativity and Intermediality on the Contemporary Stage in Montpellier 2016. The symposium was based on the hypothesis that, despite the rise of performative and postdramatic theatre and a subsequent abandonment of the plot, theatre performances tell stories after all. The variety of positions in this book now discuss and reflect the relation between narration, theatre and intermediality nowadays.Ce livre rassemble les actes du Colloque international Narrativité & Intermédialité sur la scène contemporaine, manifestation qui s’est tenue à Montpellier en 2016. Les contributions réunies dans cet ouvrage ont trait aux modalités par lesquelles la scène contemporaine, qu'elle soit théâtrale, chorégraphique ou performative, continue de produire du récit. Depuis l'analyse des œuvres, et dans un dialogue avec les artistes, elles se consacrent aux interrogations qui relèvent de l'intermédialité.

Die vierte Ausgabe von Nebulosa fragt danach, welche Qualitäten und Quantitäten das Maßnehmen bzw. das Maßgeben in der Gegenwart erreicht haben, wie und welche Sichtbarkeiten durch Anwendung welcher Verfahren und Strategien zu welchem Zweck erzeugt werden, also wie Maße des Sichtbaren gegeben werden, und wer sie gibt.Die Beiträge rekurrieren auf die Geschichte sozialer, politischer, kultureller und wirtschaftlicher Diskurse des Maßnehmens und Maßgebens und fragen beispielsweise nach der Rolle von Maßen als Analysetechniken in den Konstitutionsprozessen des Sozialen, so in der ''Selbstoptimierung'' oder beim ''Ethno-Marketing''. Aus philosophischer Perspektive wird das Maß in der Wahrnehmung des Kunstwerks bei Heidegger und Blanchot und andererseits als Selbstmaß von Geist bzw. Gesellschaft bei Hegel bzw. Marx untersucht. Im Feld der Kunst wird das Entwerfen von Maßgeblichem sowohl auf der Produktionsseite in Formen der Projektarbeit als auch der Rezeptionsseite in den Maßgaben erscheinender und dargestellter Körper betrachtet.Im künstlerischen Beitrag wird ein bisher unbekanntes Manifest nach Walter Benjamin gegeben. Das Forum verhandelt den Themenschwerpunkt der vorangegangenen Ausgabe: Gespenster aus vier kritischen und neue Gedanken eröffnenden Perspektiven.

The concept of being-with developed by the philosopher Jean-Luc Nancy asks a fundamental question about human life, inasmuch as we have always been and will be co-existent with people and environments. All modes of sense-making and subjectivation, but also presence, can only occur within a context and through interaction. This is why historical forms of theater have frequently been viewed as sites of communality and why critical approaches have questioned concepts such as ''sense'', ''meaning'' and ''habitus''. Like literature, theater has also inherited the scene of myth: It satisfies our need for narration, interpretation and to share in something. In turn, the joint creation of meaning in scenic practices is also part of the traditional idealization of the theater – but is this ideal purely mythical?The authors of this book investigate and explore how meaning is being questioned or liberated in contemporary performances, and how individual thinking/action can be articulated to others, paving the way for other gestures, theatrical processes of recognition and the performative sharing process (of sense-making).

Der Begriff der Choreographie erfährt zurzeit eine bemerkenswerte interdisziplinäre Ausweitung: Choreographie wird als qualitative Instanz für die Analyse verschiedenster kultureller, gesellschaftlicher und ästhetischer Praktiken und Lebensformen verwandt und erscheint im Licht einer Kulturtechnik. Dabei markiert Choreographie diejenige Instanz, die chaotische und unübersichtliche Bewegungsformen in den Fluss bringen, ordnen und regulieren kann. Choreographie erhält geradezu eine kulturstiftende Dimension, die sie als Kulturtechnik zu denken gibt.Welches Potenzial birgt ein Verständnis von Choreographie als Kulturtechnik? Welche kulturprägenden Optionen liegen in der Kunst des Choreographischen und was bedeutet dies für den Begriff der Choreographie, der eng mit den Potenzialen des Körpers korreliert?Vor diesem Hintergrund eröffnet der Band eine kritische Auseinandersetzung mit den Funktionen, Potenzialen, Zuschreibungen und Versprechungen von Choreographie. Aus kulturtheoretischer und -soziologischer, tanz-, theater-, medien- und kunstwissenschaftlicher Perspektive werden ästhetische und kulturelle Tragweiten von Choreographie diskutiert und im Kontext von Szenographien, Erinnerungstechniken, Ausstellungskonzeptionen, Museums-Events, autobiographischen Entwürfen, Gesellschaftsformationen, Aufführungsästhetiken und digitalen Tools untersucht.Auf der Grundlage ihrer strukturellen Gefüge, die medial durch Notationen, scores und Handlungsanweisungen vermittelt sind, bringen Choreographien Formen und Gestalten hervor. Ihnen kommt dabei eine ästhetische und kulturelle Funktion der Ordnungsstiftung zu. Außerdem scheint ihre Kunst eine geradezu transformatorische Organisationskraft zu besitzen, die es versteht, mit energetischen Kräften zwischen Körpern, Räumen und Zeiten ''gliedernd'' zu wirken. Choreographie erscheint mitunter sogar als eine kulturprägende Instanz, die mit einer Gabe der Selbstorganisation fern subjektzentrierter Einflussnahme ausgestattet ist.Mit Beiträgen von Jörn Ahrens, Lisa Beißwanger, Hartmut Böhme, Gerko Egert, Susanne Foellmer, Sabine Huschka, Bojana Kunst, Kirsten Maar, Sebastian Matthias, Katja Schneider, Gerald Siegmund, Christina Thurner und Birgit Wiens.