Heidegger and Performance explores convergences, direct or indirect, conscious or unconscious, between Heidegger’s work and ideas of performance and performativity. Its central provocation is to replace the word ‘being’ with ‘performance’ and interpret through Heidegger, new ways of understanding both terms.
In Being and Time Martin Heidegger developed a way of considering human existence as ‘being there’, a process of interrelationships with aspects of the environment in which the very process itself constitutes the essence of human being. From Heidegger to Performance engages with this radical perspective and consider Heidegger’s thinking in relation to different senses of performance, from the familiar, such as theatrical contexts of dance, live art and theatre, to explorations of modes of being within these performative situations. The contributors engage with a wide variety of topics from clowning to questions of linguistic construction; from the phenomenology of objects in stage space to the ephemerality of performance; from the performance of personal memory to the anxiety of the moment of choice in performing a complex movement. This book explores the ways in which Heidegger’s work and ideas of performance and performativity intersect, across their various senses and usages and will be useful to scholars, teachers and students who are interested in thinking about performance, and themselves as performative, in new ways.
Arvustused
What has Heidegger got to do with performance? As this insightful and genuinely inter-disciplinary collection shows, the answer is a great deal. Offering a sustained weaving together of these themes, this work will be of great interest for researchers, practitioners, and students in philosophy of history and in performance studies. -- Sacha Golob, King's College London
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Heidegger and Performance explores convergences, direct or indirect, conscious or unconscious, between Heideggers work and ideas of performance and performativity. The book's central provocation is to replace the word being with performance and interpret through Heidegger new ways of understanding both terms.
Introduction (Marie Hay and Martin Leach)
I. Heidegger and the Idea of Performativity
Entering the fundamental occurrence: the essential step (Stuart Grant,
Monash University, Australia)
II. Performance and temporality
Heideggers Augenblick and the Ephemerality of the Dance (Catherine F.
Botha, University of Johannesburg, South Africa)
Dancing and Reading Time and Being: Rethinking the performers techn in the
age of nonmimetic performance (Kirsti Monni, University of the Arts,
Helsinki, Finland)
III. Performance and entanglement
Heideggerian Care and Relational Performance: Solicitude, Curiosity, Care
and Machination (Paul Geary, Independent scholar, UK)
IV. Performance and unconcealment
Misfitness: Poetics of the Clown and Principles of Practice (Marcelo de
Almeida Libanio, Circo Teatro Udigrudi, Brazil)
They Rock: Post-script for the drama of becoming unhomely (Hester Reeve,
Sheffield Hallam University, UK)
V. Performance and attunement
Active Affection: Heideggers Account of Performativity as Middle-Voice
(Lucilla Guidi, University of Dresden, Germany)
Conclusion: Heideggers performative legacy
Martin Leach is senior lecturer of Performance Studies at De Montfort University where he teaches anatomy, physiology and philosophy to dance students.
Marie Hay is senior lecturer in Dance in the School of Humanities and Performing Arts and part of the Centre for Interdisciplinary Research in Dance at De Montfort University.
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