Gerald Siegmund
Biographic Data
| ID | 6037096 |
|---|---|
| NAME | Gerald Siegmund |
| GIVEN NAMES | Gerald |
| FAMILY NAME | Siegmund |
| SIGNATURE | SIEGMUND G |
| AFFILIATIONS | Justus-Liebig-Universität Gießen |
| ORCID | 0000-0002-0705-5640 |
| VERIFIED | Yes |
| TOTAL WORKS | 13 |
| TOTAL CITATIONS | 3 |
| AUTHOR COUNT | 10 |
| EDITOR COUNT | 3 |
| FIRST PUBLICATION YEAR | 1998 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 1 |
Power and Powerlessness in Performance
This editorial is an introduction to power / powerlessness, theatre and performance conceived as an intervention piece in three parts written by each of the three editors of this issue. The first part is an extended analysis of power and powerless in performance developed by Georg Döcker. The second part, developed by Eve Katsouraki, discusses the implications of a powerless theatre, especially during times of crisis such as the recent pandemic, …
Energetic Forces as Aesthetic Forces
This paper argues that contemporary dance practices such as somatic practices or practices that work with ideas of transgression are based on what Michel Foucault in his seminal book The Order of Things (1966) has called the episteme of man, which according to Foulacult has been in opertaion since the late 18h century. Following Foucault today's practices are still based on the concept of a split and a doubleing of man into a visible and intellig…
Doing the Contemporary
This essay asks the question whether and in what respect the work of German choreographer Pina Bausch can be considered to be contemporary. Building on Peter Osborne's definition of the contemporary as “a disjunctive unity of present times,” I aim to extract the conceptual concerns of Bausch's work that thus far have received little critical attention. In so doing, I first consider the temporal relations articulated in Bausch's work, particularly…
The Oxford Handbook of Dance and Politics
Assembling research from an international cohort of scholars dedicated to inquiry in the field, this volume investigates relationships between dance and politics, adding detail and dimension to existing research, illuminating epistemological and theoretical topographies, and forging new pathways for related inquiry. Opening up its critical terms in two directions, the project illuminates how dance achieves its politics and how notions of the poli…
Identity Politics and Political Will
The career of acclaimed tap dancer Jeni LeGon is remarkable not only for her style but also for the ways in which she navigated the racial politics of the 1930s Hollywood film industry. This chapter examines how identity politics affected LeGon’s movements on and off both stage and screen. Hollywood lacked the political will to commit to LeGon, but she countered with a black will to maintain control and subjectivity. As a light-complexioned Afric…
Ramsey Burt, Ungoverning Dance. Contemporary European Theatre Dance and the Commons
Theater als Dispositiv
Mobilization, Force, and the Politics of Transformation
This article focuses on Randy Martin's concept of mobilization and its relationship to Christoph Menke's philosophical category of force—being the grid rather than the movement, being the potential to move rather than movement in space and time, force and mobilization align. They are rallying calls for change and transformation, for different articulations of bodies and social kinesthetic energies. They both are impersonal nonsubjectified vehicle…
In die Geschichte eintreten. Performatives erinnern bei Rimini Protokoll und Klaus Michael Grüber
Verschwindende Vermit tler
Apparatus, Attention, and the Body
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…
Abwesenheit
Seit der klassischen Moderne gilt das Flüchtige als Merkmal des Tanzes. Damit verbunden ist die Frage nach der Präsenz des Tanzes als einer Kunstform, die an die leibhafte Gegenwart von Körpern auf der Bühne gebunden ist. In diesem Spannungsfeld begreift die Studie Abwesenheit als jene Kategorie, die das kritische und selbstreflexive Potential des Tanzes als Kunst- und Bühnenform ausmacht. Das Buch gibt der Tanzwissenschaft in Deutschland entsche…
L'ascension de l'écriture. Pas de danse, danse de l'écriture
The Raising of Writing. Dance Step and Writerly Dance: Alibi and A-topia in Jan Fabre's Work. Derrida's écriture is the key to Jan Fabre's choreography, which takes his work as a plastician fascinated with mannerism to their logical conclusion in positing a subject constructed by representation
Mobilization, Force, and the Politics of Transformation
This article focuses on Randy Martin's concept of mobilization and its relationship to Christoph Menke's philosophical category of force—being the grid rather than the movement, being the potential to move rather than movement in space and time, force and mobilization align. They are rallying calls for change and transformation, for different articulations of bodies and social kinesthetic energies. They both are impersonal nonsubjectified vehicle…
L'ascension de l'écriture. Pas de danse, danse de l'écriture
The Raising of Writing. Dance Step and Writerly Dance: Alibi and A-topia in Jan Fabre's Work. Derrida's écriture is the key to Jan Fabre's choreography, which takes his work as a plastician fascinated with mannerism to their logical conclusion in positing a subject constructed by representation
Abwesenheit
Seit der klassischen Moderne gilt das Flüchtige als Merkmal des Tanzes. Damit verbunden ist die Frage nach der Präsenz des Tanzes als einer Kunstform, die an die leibhafte Gegenwart von Körpern auf der Bühne gebunden ist. In diesem Spannungsfeld begreift die Studie Abwesenheit als jene Kategorie, die das kritische und selbstreflexive Potential des Tanzes als Kunst- und Bühnenform ausmacht. Das Buch gibt der Tanzwissenschaft in Deutschland entsche…
Apparatus, Attention, and the Body
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…
In die Geschichte eintreten. Performatives erinnern bei Rimini Protokoll und Klaus Michael Grüber
Verschwindende Vermit tler
Mobilization, Force, and the Politics of Transformation
This article focuses on Randy Martin's concept of mobilization and its relationship to Christoph Menke's philosophical category of force—being the grid rather than the movement, being the potential to move rather than movement in space and time, force and mobilization align. They are rallying calls for change and transformation, for different articulations of bodies and social kinesthetic energies. They both are impersonal nonsubjectified vehicle…
The Oxford Handbook of Dance and Politics
Assembling research from an international cohort of scholars dedicated to inquiry in the field, this volume investigates relationships between dance and politics, adding detail and dimension to existing research, illuminating epistemological and theoretical topographies, and forging new pathways for related inquiry. Opening up its critical terms in two directions, the project illuminates how dance achieves its politics and how notions of the poli…
Identity Politics and Political Will
The career of acclaimed tap dancer Jeni LeGon is remarkable not only for her style but also for the ways in which she navigated the racial politics of the 1930s Hollywood film industry. This chapter examines how identity politics affected LeGon’s movements on and off both stage and screen. Hollywood lacked the political will to commit to LeGon, but she countered with a black will to maintain control and subjectivity. As a light-complexioned Afric…
Ramsey Burt, Ungoverning Dance. Contemporary European Theatre Dance and the Commons
Theater als Dispositiv
Doing the Contemporary
This essay asks the question whether and in what respect the work of German choreographer Pina Bausch can be considered to be contemporary. Building on Peter Osborne's definition of the contemporary as “a disjunctive unity of present times,” I aim to extract the conceptual concerns of Bausch's work that thus far have received little critical attention. In so doing, I first consider the temporal relations articulated in Bausch's work, particularly…
Energetic Forces as Aesthetic Forces
This paper argues that contemporary dance practices such as somatic practices or practices that work with ideas of transgression are based on what Michel Foucault in his seminal book The Order of Things (1966) has called the episteme of man, which according to Foulacult has been in opertaion since the late 18h century. Following Foucault today's practices are still based on the concept of a split and a doubleing of man into a visible and intellig…
Power and Powerlessness in Performance
This editorial is an introduction to power / powerlessness, theatre and performance conceived as an intervention piece in three parts written by each of the three editors of this issue. The first part is an extended analysis of power and powerless in performance developed by Georg Döcker. The second part, developed by Eve Katsouraki, discusses the implications of a powerless theatre, especially during times of crisis such as the recent pandemic, …
Art (12 works) · Philosophy (7 works) · Aesthetics (6 works) · Sociology (6 works) · Visual arts (6 works) · Art history (5 works) · Dance (4 works) · Epistemology (4 works) · German Literature and Culture Studies (4 works) · Law (4 works)