o Hosted by the Research Centre for Performance and Creative Exchange
In this lecture, Andre will address the problematic of dance in relationship to its past via the ever-increasing practice of "re-enactments". He will argue that re-enactments, understood as a bodily archiving of dance, can only be assessed in their political force if we first bypass the binary opposition proposed by Diana Taylor between "archive and repertoire" -- and depart rather from a more temporally dynamic understanding of the intricate interweavings always already in place between "body", "dance," and "archive."
o Using Michel Foucault's definition of "archive" as a general system of transformations, Andre will propose that some recent dance re-enactments should be seen not as historiographic-melancholic compulsions to repeat, but as singular modes of politicizing time and economies of authorship via the activation of the body as an endlessly transformational archive.
o Dr. André Lepecki is Associate Professor and Acting Associate Chair at the Department of Performance Studies at New York University. He is the author of Exhausting Dance: Performance and the Politics of Movement (translated into 6 languages), and co-editor with Jenn Joy of the forthcoming Planes of Composition: Dance, Theory and the Global (Seagull Press). He is currently co-curating with Stephanie Rosenthal an "archive" on dance and visual arts for the exhibition "Move" to be opened in 2010 at the Hayward Gallery, London.
o NOTES
o Re-enactment – Archiving
o (Walter Benjamin) essay
o “The task of the translator”
o Inefficiency of writing/choreographing = Trace
o The trace is not the movement
o “Paper machine” Derrida
o Choreography allows dance to return
o Paradoxical effect of turns and returns
o Movement as always escaping representation
o So, How can we ever return to the archive trace?
o Dynamic system of incorporation and of excorporation.
o Joy (Spinoza)
o What is to archive and what is to reenact?
o Archive as a metamorphic system
o Notion of the body as metamorphic
o Repetition
o Turning her body into an archive
o Performance zooms into the future, it doesn’t return into the past
o Repertoire: Oral traditions
o Archive: Paper
o The body should be the archiving mere
o Re-enactment: A mode of performance that has consistency on its own
o React feminism – exhibition 2009
o How reenactment could be a feminist act?
o Political performativity of re-enactment of conference dance
o Copywrite authorship
o Excorporation – Incorporation (Between author and re-enactor)
o Trasmition: A parasitic one
o Creative disrespectful, profane (Giorgio Agamden) without any regards to the original
o Two curatorial perspectives
o 1) The gift and dissemination (J.Derrida) Execution of exact circulation, what leaves the house has to return to it. (Economy)
o Re-enactment: Enacts the purpose of the end of economy
o Proper re-enactments?
o 2) Appropriation 1962 lecture Time in being
o -The task of the translator
o Unmetaphoriacal objectivity
o “Unleash as you translate, give other possibilities to the work”
o Re-enactability may not be reenacted (Walter Benjamin)
o 3) Body as archive against authorial economies
o Nachbar Martin “ Urheben Aufheben”
o Perform a Return
o Research in the archive
o System of excorporations and transmitions
o Archive for FOUCAULT, Not a thing, recipe…
o General SYSTEM OF FORMATIONS AND TRANSFORMATIONS OF STATEMENTS choreographic
o Singularities, events
o Drugging Martha back from the dead
o Is the work of art over? Or is it never over?
o Death of the author / change of economy to gift
o Archive forms and transforms
o Everything gets lost and nothing gets lost.
o Archiving forms, deforms, transforms…
o Corporeality of the archive
o Recreate of the missing items of the archive
o Scores of happiness. Reinvention (Allan Kaprow)
o Trash, Collector When you stop collecting?
o Ligia Clark
o “The law of the father is the law of the house”
1) Creative / Disrespect / 2) Irrigorous
To what the author wants BUT look to what the work wants!
o Affinity to what? To what the work wants for you
o Re-enactments: Repetitions by the author
o IDEA Make always the same piece, re-enactments of the same piece
o Recognition is not necessary.
o Recognition allows for historiographicly validate reenactments
o Reenactments of pieces that are not highly recognized
o The recognition validates the project
o Dissemination
