Esa Kirkkopelto
Biographic Data
| ID | 3478585 |
|---|---|
| NAME | Esa Kirkkopelto |
| GIVEN NAMES | Esa |
| FAMILY NAME | Kirkkopelto |
| SIGNATURE | KIRKKOPELTO E |
| AFFILIATIONS | University of the Arts Helsinki |
| ORCID | 0000-0003-1005-1453 |
| VERIFIED | Yes |
| TOTAL WORKS | 8 |
| TOTAL CITATIONS | 1 |
| WORKS AS AUTHOR | 8 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2009 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 1 |
Unidentified Verbal Objects
This article considers how artistically performative practices, especially the scenic embodiment of words, problematizes our accustomed understanding of language, both in a philosophical and an everyday sense. In classical phenomenology à la Heidegger or Merleau-Ponty, language is considered a medium of the process of appearing or expression. As I try to sustain, language should instead be understood as the medium of appearing; not as the primary…
Monster and Khôra
This article offers a deconstructive reading of two imaginary constructs in Plato’s work. The first is the allegory of the psychè presented in Book IX of the Republic, and the second is the khôra discussed in Timaeus. Both discourses conceal an idea of corporality that the art of acting – that is, bodies in the performing arts – has traditionally manifested. The absence of the imaginary function and its replacement by the plastic paradigm of “mou…
Phenomenological Actor
In this article, I will open my artistic research process from the phenomenological point of view, by aiming at identifying its phenomenological aspects and potential. My presentation will proceed as a series of practical demonstrations, which enable us to perceive how an actor as a scenic performer conceives their corporeal practice and what kind of phenomena they produce, encounter and operates with. The experience and idea of corporality, risi…
Plutarch’s Boat
The article considers how the scene in the scenic presentation can constitute a twofold instance of interruption—not only as an intervening element within a performance but also as something that may interrupt it entirely—and how these two interruptions are intertwined. The demonstration builds on a scenic lecture of the classical text by Plutarch on the disappearance of oracles, dating from the first century CE. The text is renowned for its stor…
La scène comme antichambre de la vie et de la mort. À partir de Philippe Lacoue-Labarthe
Cet article pose la question de la nature de l’espace scénique; dans la mesure où son ouverture dépend du geste de l’acteur, il implique une corporéité dont la nature et la fonction appellent l’analyse. La lecture comparée des textes de Philippe Lacoue-Labarthe et de Luce Irigaray introduisent l’idée que les corps scéniques sont à concevoir comme objets partiels, virtuels et jouissants. Cette idée est un défi pour les discours esthétiques et anal…
Rhythmos
Rhythmus ist die Form dessen, was unbeständig, vielfältig, mannigfaltig ist. Beiträge von Samuel Weber, Ulrike Haß, Esa Kirkkopleto und anderen untersuchen die ästhetische und politische Dimension von Rhythmus in Theater, Literatur, Musik und Film. Émile Benveniste nennt den Rhythmus »die improvisierte, momentane und veränderliche Form«. Rhythmus entsteht durch Unterbrechungen, durch Abstände und Differenzen; erst als Rhythmus kann ein gemeinsame…
Joints and Strings
This article concerns the ontological status of the performing body. What if it were not considered derivative in relation to any kind of discursive construction or any kind of pre-existent materiality or force? What if it were taken as a starting point of our attempts to understand the linguistic and material aspects of our bodily co-existence? If so, our ideas of what a body can do while performing, and what it consists of, have to change radic…
The Question of the Scene
The article consists of two interrelated arguments: First, all theoretical or everyday talk on theatre implies a certain scenic understanding, related to the phenomenon of human action and speech. Second, this understanding has been concealed by an anthropomorphic conception of the human phenomenon, based on the givenness of the human figure. The article tries to deconstruct this figure by analysing classical philosophical texts where the link be…
Joints and Strings
This article concerns the ontological status of the performing body. What if it were not considered derivative in relation to any kind of discursive construction or any kind of pre-existent materiality or force? What if it were taken as a starting point of our attempts to understand the linguistic and material aspects of our bodily co-existence? If so, our ideas of what a body can do while performing, and what it consists of, have to change radic…
The Question of the Scene
The article consists of two interrelated arguments: First, all theoretical or everyday talk on theatre implies a certain scenic understanding, related to the phenomenon of human action and speech. Second, this understanding has been concealed by an anthropomorphic conception of the human phenomenon, based on the givenness of the human figure. The article tries to deconstruct this figure by analysing classical philosophical texts where the link be…
Rhythmos
Rhythmus ist die Form dessen, was unbeständig, vielfältig, mannigfaltig ist. Beiträge von Samuel Weber, Ulrike Haß, Esa Kirkkopleto und anderen untersuchen die ästhetische und politische Dimension von Rhythmus in Theater, Literatur, Musik und Film. Émile Benveniste nennt den Rhythmus »die improvisierte, momentane und veränderliche Form«. Rhythmus entsteht durch Unterbrechungen, durch Abstände und Differenzen; erst als Rhythmus kann ein gemeinsame…
Joints and Strings
This article concerns the ontological status of the performing body. What if it were not considered derivative in relation to any kind of discursive construction or any kind of pre-existent materiality or force? What if it were taken as a starting point of our attempts to understand the linguistic and material aspects of our bodily co-existence? If so, our ideas of what a body can do while performing, and what it consists of, have to change radic…
La scène comme antichambre de la vie et de la mort. À partir de Philippe Lacoue-Labarthe
Cet article pose la question de la nature de l’espace scénique; dans la mesure où son ouverture dépend du geste de l’acteur, il implique une corporéité dont la nature et la fonction appellent l’analyse. La lecture comparée des textes de Philippe Lacoue-Labarthe et de Luce Irigaray introduisent l’idée que les corps scéniques sont à concevoir comme objets partiels, virtuels et jouissants. Cette idée est un défi pour les discours esthétiques et anal…
Plutarch’s Boat
The article considers how the scene in the scenic presentation can constitute a twofold instance of interruption—not only as an intervening element within a performance but also as something that may interrupt it entirely—and how these two interruptions are intertwined. The demonstration builds on a scenic lecture of the classical text by Plutarch on the disappearance of oracles, dating from the first century CE. The text is renowned for its stor…
Phenomenological Actor
In this article, I will open my artistic research process from the phenomenological point of view, by aiming at identifying its phenomenological aspects and potential. My presentation will proceed as a series of practical demonstrations, which enable us to perceive how an actor as a scenic performer conceives their corporeal practice and what kind of phenomena they produce, encounter and operates with. The experience and idea of corporality, risi…
Unidentified Verbal Objects
This article considers how artistically performative practices, especially the scenic embodiment of words, problematizes our accustomed understanding of language, both in a philosophical and an everyday sense. In classical phenomenology à la Heidegger or Merleau-Ponty, language is considered a medium of the process of appearing or expression. As I try to sustain, language should instead be understood as the medium of appearing; not as the primary…
Monster and Khôra
This article offers a deconstructive reading of two imaginary constructs in Plato’s work. The first is the allegory of the psychè presented in Book IX of the Republic, and the second is the khôra discussed in Timaeus. Both discourses conceal an idea of corporality that the art of acting – that is, bodies in the performing arts – has traditionally manifested. The absence of the imaginary function and its replacement by the plastic paradigm of “mou…
Philosophy (6 works) · Art (5 works) · Theatre and Performance Studies (4 works) · Aesthetics (3 works) · Computer Science (3 works) · Epistemology (3 works) · Psychology (3 works) · Classical Philosophy and Thought (2 works) · Language, Metaphor, and Cognition (2 works) · Law (2 works)