Noémie Solomon
Biographic Data
| ID | 6185652 |
|---|---|
| NAME | Noémie Solomon |
| GIVEN NAMES | Noémie |
| FAMILY NAME | Solomon |
| SIGNATURE | SOLOMON N |
| AFFILIATIONS | Noémie Solomon is a dancer, choreographer, and writer working in and around contemporary performance. She holds a Maîtrise and a Diplôme d'Études Approfondies in Dance Studies from Université Paris-8, and is currently a PhD candidate in the Department of Performance Studies, Tisch School of the Arts/NYU. |
| VERIFIED | No |
| TOTAL WORKS | 4 |
| TOTAL CITATIONS | 2 |
| AUTHOR COUNT | 3 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2007 |
| LATEST PUBLICATION YEAR | 2018 |
| H-INDEX | 1 |
Talking Dancing: Véronique Doisneau and the Somato-Discursive Invention of the Choreographic Sujet
Invited to make a work for the corps de ballet of the Paris Opera, Jérôme Bel creates a bio-choreography of one of its subjects: Véronique Doisneau. The insertion of the ballerina's idiosyncratic narratives and gestures stages the linguistic materiality of the dancer: it articulates the intricacy of a body as matter in the grasp of a network of somatic and discursive operations. By examining the binding of movement and narration in the (re)produc…
Welcome to This Situation: Tino Sehgal's Impersonal Ethics
What of dance is welcomed in the museum, and what remains on the outside? Artist Tino Seghal's “constructed situations” redirect this question, reworking relations of inside and outside, participant and observer, subject and object through a collective bodily attending to the situation itself. This article explores the conspiratorial techniques activated by This Situation (2007) to consider how dance moves in and with the museum. These techniques…
Conducting Movement: Xavier Le Roy and the Amplification of Le Sacre du Printemps
The dancer, Xavier Le Roy, walks with a calm yet deliberate pace across the empty stage toward its center, where he stops, with his back facing the audience. He slowly lifts his arms in front of him and, after a brief moment of suspension, makes a hand gesture, as focused as unexpected, as if channeling a stream of intensities—a gesture to which the music responds. Echoing Le Roy's movement, Igor Stravinsky's most notorious score, Le Sacre du Pri…
Scène and Contemporaneity
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…
Welcome to This Situation: Tino Sehgal's Impersonal Ethics
What of dance is welcomed in the museum, and what remains on the outside? Artist Tino Seghal's “constructed situations” redirect this question, reworking relations of inside and outside, participant and observer, subject and object through a collective bodily attending to the situation itself. This article explores the conspiratorial techniques activated by This Situation (2007) to consider how dance moves in and with the museum. These techniques…
Conducting Movement: Xavier Le Roy and the Amplification of Le Sacre du Printemps
The dancer, Xavier Le Roy, walks with a calm yet deliberate pace across the empty stage toward its center, where he stops, with his back facing the audience. He slowly lifts his arms in front of him and, after a brief moment of suspension, makes a hand gesture, as focused as unexpected, as if channeling a stream of intensities—a gesture to which the music responds. Echoing Le Roy's movement, Igor Stravinsky's most notorious score, Le Sacre du Pri…
Scène and Contemporaneity
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…
Conducting Movement: Xavier Le Roy and the Amplification of Le Sacre du Printemps
The dancer, Xavier Le Roy, walks with a calm yet deliberate pace across the empty stage toward its center, where he stops, with his back facing the audience. He slowly lifts his arms in front of him and, after a brief moment of suspension, makes a hand gesture, as focused as unexpected, as if channeling a stream of intensities—a gesture to which the music responds. Echoing Le Roy's movement, Igor Stravinsky's most notorious score, Le Sacre du Pri…
Welcome to This Situation: Tino Sehgal's Impersonal Ethics
What of dance is welcomed in the museum, and what remains on the outside? Artist Tino Seghal's “constructed situations” redirect this question, reworking relations of inside and outside, participant and observer, subject and object through a collective bodily attending to the situation itself. This article explores the conspiratorial techniques activated by This Situation (2007) to consider how dance moves in and with the museum. These techniques…
Talking Dancing: Véronique Doisneau and the Somato-Discursive Invention of the Choreographic Sujet
Invited to make a work for the corps de ballet of the Paris Opera, Jérôme Bel creates a bio-choreography of one of its subjects: Véronique Doisneau. The insertion of the ballerina's idiosyncratic narratives and gestures stages the linguistic materiality of the dancer: it articulates the intricacy of a body as matter in the grasp of a network of somatic and discursive operations. By examining the binding of movement and narration in the (re)produc…
Aesthetics (4 works) · Art (4 works) · Linguistics (4 works) · Philosophy (4 works) · Visual arts (4 works) · Choreography (3 works) · Dance (3 works) · Diversity and Impact of Dance (3 works) · Epistemology (3 works) · Sociology (3 works)