André Lepecki
Biographic Data
| ID | 176983 |
|---|---|
| NAME | André Lepecki |
| GIVEN NAMES | André |
| FAMILY NAME | Lepecki |
| SIGNATURE | LEPECKI A |
| AFFILIATIONS | New York University |
| VERIFIED | No |
| TOTAL WORKS | 29 |
| TOTAL CITATIONS | 71 |
| WORKS AS AUTHOR | 28 |
| WORKS AS EDITOR | 1 |
| FIRST PUBLICATION YEAR | 1999 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 3 |
Choréopolice et choréopolitique ou la tâche du danseur
L'élément chorégraphique, dans la notion de « police » de Jacques Rancière, est utilisé pour avancer le concept de « choréopolice », qui peut ensuite être opposé au concept de « choréopolitique » pour redéfinir la « chorégraphie » et la libérer des constructions impératives ou normatives (c'est-à-dire policées) du mouvement. L'idée de Hannah Arendt selon laquelle la liberté est le telos de la politique aide à comprendre comment, dans différents t…
Coreografia e pornografia
Nota delle curatrici Choreography and Pornography di André Lepecki è stato pubblicato in Post-dance.Il libro accoglie i testi della conferenza organizzata dallo stesso Lepecki, Danjel Andersson e Gabriel Smeets nel 2015 a Stoccolma, che ha coinvolto diversi teorici, pensatori, coreografi e artisti per riflettere sulla danza e sulla coreografia nel tempo presente (nella contemporaneità). Il testo di Lepecki, fortemente connotato dalla dimensione p…
Sally Banes
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Brasil experiments
Conference Panel to Honor Mark Franko's Editorship of DRJ
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The Non-time of Lived Experience
This essay analyzes the approach of Brazilian artist Hélio Oiticica (1937-80) to what he called "the problem of color." Oiticica's conceptual-aesthetic pursuits between 1959-65 offered a renewed onto-political conceptualization of notions of time, particularly of the "liveness" of inert matters and of the "thingness" of participation. His notion of "vivência estética" (the lived experience of the aesthetic) bridged supposed gaps between performan…
Movement after Randy Martin
This section collects a series of short reflections on the life, camaraderie, and scholarship of Randy Martin, a longtime member of the Social Text editorial collective. In place of definitive, authoritative analyses of Martin's work, these pieces present a montage of personal snapshots by people that collaborated, moved, thought, wrote, edited, and learned with him
Substance-resonance
Swedish choreographer, curator, writer, and performer Mårten Spångberg’s four-hour-plus piece raises issues around the intricate relationships between choreography, dance, affect, objects, critical theory, pop culture, and visual arts
Teleplastic Abduction
Using the notions of “telepathy” (John Forrester), “teleplasty” (Roger Caillois), and “social choreography” (Andre Hewitt) this essay responds to Tracy L. Simon's analysis of her patient Nora by proposing a critique of subjectivity as predicated on the notion of the individual subject. Through a dialogue with dance studies, performance studies, and the philosophy of Gilles Deleuze and Félix Guattari, a case is made for the symptom to be perceived…
Inside/Beside Dance Studies
In 2012, Susan Manning, Rebecca Schneider, and Janice Ross collaborated across their home institutions of Northwestern University, Brown University, and Stanford University, respectively, to found a research initiative interrogating the field of dance studies. This manifold project, Dance Studies in/and the Humanities, receives funding from the Andrew W. Mellon Foundation through 2015 and includes a series of public roundtable discussions. This c…
Choreopolice and Choreopolitics
The choreographic element in Jacques Rancière's notion of "police" is used to advance the concept of "choreopolice," which can then be set in opposition to "choreopolitics" to redefine "choreography" and release it from imperative, or normative (i.e., policed) constructions of movement. Hannah Arendt's notion that freedom is the telos of politics identifies how within several types of choreography (TURF street dance, Tania Bruguera's Arte de Cond…
The Senses in Performance
1. Introduction: The Performance of the Senses Part I: Theory and Practice 2. Rasaesthetics 3. Olfactory Performances 4. Unearthing Kinesthesia 5. Senses and Silence in Actor Training and Performance 6. Making Sense of Food in Performance Part II: History 7. Edible Performance 8. Incense & Decadents 9. Touching Realism Part III: Contemporary Performance 10. Guiding Somatic Responses Within Performative Structures 11. Containment + Contamination 1…
Senses in Performance
Featuring contributions from some of the leading names in the field, including Richard Schechner and Phillip Zarrilli, this title investigates the role of all five senses in relation to performance, covering essays that examine both Western and non-Western performance, traditional and contemporary
Dance Discourses
The formation of what Randy Martin has called “critical dance studies” (1998) has gained increased momentum over the past decade. Martin's notion of critical dance studies clarified how dance scholarship was being reshaped by the explicit inclusion of critical theory in its methodologies and epistemologies. One of the major consequences for dance studies in embracing critical theory was the identification of dancing and choreographic practices as…
Moving as Thing
OCTOBER 140, Spring 2012, pp. 75–90 © 2012 October Magazine, Ltd. and Massachusetts Institute of Technology. If there is a distinguishing trait of recent experimental dance, it is the noticeable presence of objects as main performative elements. Examples can be found in numerous works of the past three or four years. German choreographer Thomas Lehmen’s recent Schrottplatz (Scrapyard, 2010) is a fifty-minute solo piece in which Lehmen interacts w…
Coreo-política e coreo-polícia
A partir da recente ênfase em filosofia política (Rancière; Agamben) da relação ontologica entre estética e política, se analisa a possibilidade de uma pensar coreográfico dissensual no urbano contemporâneo. Exemplos incluem os movimentos de ocupação de praças e ruas nos últimos 18 meses (Tahir; Wall Street entre outros); a performance art de Tania Bruguera e William Pope.L; e a dança TURF, em Oakland, California. Avança-se o conceito de coreo-po…
The Body as Archive
Laurence Louppe once advanced the intriguing notion that the dancer is “the veritable avatar of Orpheus: he has no right to turn back on his course, lest he be denied the object of his quest” (Louppe 1994, 32). However, looking across the contemporary dance scene in Europe and the United States, one cannot escape the fact that dancers—contrary to Orpheus, contrary to Louppe's assertion—are increasingly turning back on their and dance history's tr…
Machines, Faces, Neurons
The final installment of a continuing series on choreography considering the mutual interrogation of philosophy and dance, the articles propose a tentative ethics of dance as a “practical philosophy” under the influence of Gilles Deleuze read through specific choreographic practices. Gerald Siegmund describes his private experience of Boris Charmatz's choreographic machine as a metaphor for the entrapment of theatre and as generative of new bodil…
Choreography as Apparatus of Capture
This second installment of TDR's continuing series on choreography and philosophy addresses dance and temporality. Paula Caspão describes the economy of movement and language as a stuttering, relational, affective field. Frédéric Pouillaude argues that contemporaneity links dance and scène, which in French means both an abstract place for an event and, more concretely, the stage. In a dialogue, Danielle Goldman and Deborah Hay follow up on Goldma…
Exhausting Dance
The only scholarly book in English dedicated to recent European contemporary dance, Exhausting Dance: Performance and the Politics of Movement examines the work of key contemporary choreographers who have transformed the dance scene since the early 1990s in Europe and the US. Through their vivid and explicit dialogue with performance art, visual arts and critical theory from the past thirty years, this new generation of choreographers challenge o…
After All, This Terror Was Not Without Reason”
Witnessed in the scholarly lectures of the Atlas Group's The Loudest Muttering Is Over: Case Studies from the Atlas Group Archive, performed by Walid Raad, images become part of a larger political dramaturgy of history as pedagogy that simultaneously produces memory, language, and the authoritative historian's voice, through a misfiling of crucial information—further blurring the lines between reality and fiction
Mutant Enunciations
The articles in this first installment of a series on choreography that considers the relationship between philosophy and dance interrogate conceptions of the body, movement, and language. Translated for the first time into English, the selection by José Gil reads the dancing body as paradoxical through the writings of Gilles Deleuze and Félix Guattari; and the chapter by Peter Sloterdijk examines modernity's impulse toward movement and posits a …
Exhausting dance
Le miroir éclaté/A dança do existir. Altérité coloniale et violence de l'identité dans un solo de Vera Mantero
This essay analyzes Vera Mantero's solo A Dança do Existir (1995), arguing that it constitutes a cultural intervention into Portuguese postcolonial memory. By examining the uses of stillness, sound montage, and choreographic displacements in Mantero's piece, the author explores the notions of "cultural anesthesia" (Allen Feldman) and "immobile actions" (Nadia Seremetakis) in relation to the cultural formations of violence and alterity in European…
Stumble dance
The Body as Archive
Laurence Louppe once advanced the intriguing notion that the dancer is “the veritable avatar of Orpheus: he has no right to turn back on his course, lest he be denied the object of his quest” (Louppe 1994, 32). However, looking across the contemporary dance scene in Europe and the United States, one cannot escape the fact that dancers—contrary to Orpheus, contrary to Louppe's assertion—are increasingly turning back on their and dance history's tr…
Choreopolice and Choreopolitics
The choreographic element in Jacques Rancière's notion of "police" is used to advance the concept of "choreopolice," which can then be set in opposition to "choreopolitics" to redefine "choreography" and release it from imperative, or normative (i.e., policed) constructions of movement. Hannah Arendt's notion that freedom is the telos of politics identifies how within several types of choreography (TURF street dance, Tania Bruguera's Arte de Cond…
Coreo-política e coreo-polícia
A partir da recente ênfase em filosofia política (Rancière; Agamben) da relação ontologica entre estética e política, se analisa a possibilidade de uma pensar coreográfico dissensual no urbano contemporâneo. Exemplos incluem os movimentos de ocupação de praças e ruas nos últimos 18 meses (Tahir; Wall Street entre outros); a performance art de Tania Bruguera e William Pope.L; e a dança TURF, em Oakland, California. Avança-se o conceito de coreo-po…
Stumble dance
Moving as Thing
OCTOBER 140, Spring 2012, pp. 75–90 © 2012 October Magazine, Ltd. and Massachusetts Institute of Technology. If there is a distinguishing trait of recent experimental dance, it is the noticeable presence of objects as main performative elements. Examples can be found in numerous works of the past three or four years. German choreographer Thomas Lehmen’s recent Schrottplatz (Scrapyard, 2010) is a fifty-minute solo piece in which Lehmen interacts w…
Skin, Body, and Presence in Contemporary European Choreography
Co-winner, 1998 TDR student essay contest. Today's European choreographyis a “reduction” of expansiveness, the spectacular, the unessential. Along withthis minimalism has come much nakedness onstage. This showing of the bodyreveals the power of the surface, the “skin of our time: open, marked, rented”
Books
Introduction
Limitless
Stumble dance
Exhausting dance
Le miroir éclaté/A dança do existir. Altérité coloniale et violence de l'identité dans un solo de Vera Mantero
This essay analyzes Vera Mantero's solo A Dança do Existir (1995), arguing that it constitutes a cultural intervention into Portuguese postcolonial memory. By examining the uses of stillness, sound montage, and choreographic displacements in Mantero's piece, the author explores the notions of "cultural anesthesia" (Allen Feldman) and "immobile actions" (Nadia Seremetakis) in relation to the cultural formations of violence and alterity in European…
Exhausting Dance
The only scholarly book in English dedicated to recent European contemporary dance, Exhausting Dance: Performance and the Politics of Movement examines the work of key contemporary choreographers who have transformed the dance scene since the early 1990s in Europe and the US. Through their vivid and explicit dialogue with performance art, visual arts and critical theory from the past thirty years, this new generation of choreographers challenge o…
After All, This Terror Was Not Without Reason”
Witnessed in the scholarly lectures of the Atlas Group's The Loudest Muttering Is Over: Case Studies from the Atlas Group Archive, performed by Walid Raad, images become part of a larger political dramaturgy of history as pedagogy that simultaneously produces memory, language, and the authoritative historian's voice, through a misfiling of crucial information—further blurring the lines between reality and fiction
Mutant Enunciations
The articles in this first installment of a series on choreography that considers the relationship between philosophy and dance interrogate conceptions of the body, movement, and language. Translated for the first time into English, the selection by José Gil reads the dancing body as paradoxical through the writings of Gilles Deleuze and Félix Guattari; and the chapter by Peter Sloterdijk examines modernity's impulse toward movement and posits a …
Machines, Faces, Neurons
The final installment of a continuing series on choreography considering the mutual interrogation of philosophy and dance, the articles propose a tentative ethics of dance as a “practical philosophy” under the influence of Gilles Deleuze read through specific choreographic practices. Gerald Siegmund describes his private experience of Boris Charmatz's choreographic machine as a metaphor for the entrapment of theatre and as generative of new bodil…
Choreography as Apparatus of Capture
This second installment of TDR's continuing series on choreography and philosophy addresses dance and temporality. Paula Caspão describes the economy of movement and language as a stuttering, relational, affective field. Frédéric Pouillaude argues that contemporaneity links dance and scène, which in French means both an abstract place for an event and, more concretely, the stage. In a dialogue, Danielle Goldman and Deborah Hay follow up on Goldma…
The Body as Archive
Laurence Louppe once advanced the intriguing notion that the dancer is “the veritable avatar of Orpheus: he has no right to turn back on his course, lest he be denied the object of his quest” (Louppe 1994, 32). However, looking across the contemporary dance scene in Europe and the United States, one cannot escape the fact that dancers—contrary to Orpheus, contrary to Louppe's assertion—are increasingly turning back on their and dance history's tr…
Coreo-política e coreo-polícia
A partir da recente ênfase em filosofia política (Rancière; Agamben) da relação ontologica entre estética e política, se analisa a possibilidade de uma pensar coreográfico dissensual no urbano contemporâneo. Exemplos incluem os movimentos de ocupação de praças e ruas nos últimos 18 meses (Tahir; Wall Street entre outros); a performance art de Tania Bruguera e William Pope.L; e a dança TURF, em Oakland, California. Avança-se o conceito de coreo-po…
The Senses in Performance
1. Introduction: The Performance of the Senses Part I: Theory and Practice 2. Rasaesthetics 3. Olfactory Performances 4. Unearthing Kinesthesia 5. Senses and Silence in Actor Training and Performance 6. Making Sense of Food in Performance Part II: History 7. Edible Performance 8. Incense & Decadents 9. Touching Realism Part III: Contemporary Performance 10. Guiding Somatic Responses Within Performative Structures 11. Containment + Contamination 1…
Senses in Performance
Featuring contributions from some of the leading names in the field, including Richard Schechner and Phillip Zarrilli, this title investigates the role of all five senses in relation to performance, covering essays that examine both Western and non-Western performance, traditional and contemporary
Dance Discourses
The formation of what Randy Martin has called “critical dance studies” (1998) has gained increased momentum over the past decade. Martin's notion of critical dance studies clarified how dance scholarship was being reshaped by the explicit inclusion of critical theory in its methodologies and epistemologies. One of the major consequences for dance studies in embracing critical theory was the identification of dancing and choreographic practices as…
Moving as Thing
OCTOBER 140, Spring 2012, pp. 75–90 © 2012 October Magazine, Ltd. and Massachusetts Institute of Technology. If there is a distinguishing trait of recent experimental dance, it is the noticeable presence of objects as main performative elements. Examples can be found in numerous works of the past three or four years. German choreographer Thomas Lehmen’s recent Schrottplatz (Scrapyard, 2010) is a fifty-minute solo piece in which Lehmen interacts w…
Teleplastic Abduction
Using the notions of “telepathy” (John Forrester), “teleplasty” (Roger Caillois), and “social choreography” (Andre Hewitt) this essay responds to Tracy L. Simon's analysis of her patient Nora by proposing a critique of subjectivity as predicated on the notion of the individual subject. Through a dialogue with dance studies, performance studies, and the philosophy of Gilles Deleuze and Félix Guattari, a case is made for the symptom to be perceived…
Inside/Beside Dance Studies
In 2012, Susan Manning, Rebecca Schneider, and Janice Ross collaborated across their home institutions of Northwestern University, Brown University, and Stanford University, respectively, to found a research initiative interrogating the field of dance studies. This manifold project, Dance Studies in/and the Humanities, receives funding from the Andrew W. Mellon Foundation through 2015 and includes a series of public roundtable discussions. This c…
Choreopolice and Choreopolitics
The choreographic element in Jacques Rancière's notion of "police" is used to advance the concept of "choreopolice," which can then be set in opposition to "choreopolitics" to redefine "choreography" and release it from imperative, or normative (i.e., policed) constructions of movement. Hannah Arendt's notion that freedom is the telos of politics identifies how within several types of choreography (TURF street dance, Tania Bruguera's Arte de Cond…
Substance-resonance
Swedish choreographer, curator, writer, and performer Mårten Spångberg’s four-hour-plus piece raises issues around the intricate relationships between choreography, dance, affect, objects, critical theory, pop culture, and visual arts
Movement after Randy Martin
This section collects a series of short reflections on the life, camaraderie, and scholarship of Randy Martin, a longtime member of the Social Text editorial collective. In place of definitive, authoritative analyses of Martin's work, these pieces present a montage of personal snapshots by people that collaborated, moved, thought, wrote, edited, and learned with him
The Non-time of Lived Experience
This essay analyzes the approach of Brazilian artist Hélio Oiticica (1937-80) to what he called "the problem of color." Oiticica's conceptual-aesthetic pursuits between 1959-65 offered a renewed onto-political conceptualization of notions of time, particularly of the "liveness" of inert matters and of the "thingness" of participation. His notion of "vivência estética" (the lived experience of the aesthetic) bridged supposed gaps between performan…
Conference Panel to Honor Mark Franko's Editorship of DRJ
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Art (21 works) · Diversity and Impact of Dance (14 works) · Visual arts (12 works) · Aesthetics (11 works) · Dance (11 works) · Philosophy (11 works) · Theatre and Performance Studies (10 works) · Choreography (8 works) · Sociology (8 works) · Computer Science (6 works)