Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

Performance Geometries—A Primer

Performance Geometries—A Primer art & performance notes Habit, conceived and directed by David Levine. Photo: Julieta Cervantes. Courtesy French Institute Alliance Française. Performance Geometries — a Primer Ryan Anthony Hatch Crossing the Line Festival, presented by the French Institute Alliance Française, New York City, September 14–October 14, 2012. The stage is the line which stands across the path of the optic pencil, tracing at once the point at which it is brought to a stop and, as it were, the threshold of its ramification. Roland Barthes, “Diderot, Brecht, Eisenstein” I: LInes Brian Rogers’s claustrophobic, seductive video/performance piece. In dance, the Tanztheater aesthetic continues to dominate the field — a fact to which Raimund Hoghe’s Pas de Deux, Jack Ferver’s Mon Ma Mes, and Faustin Linyekula’s Le Cargo, all bear dramatic witness. And in the gallery art world, immaterial happenings that engage the beholder in immersive experiences and leave little or no trace are pushing visual art to the outer limit of theatrical ephemerality, a limit point on which David Levine has staked the better part of his career. Even a cursory survey demonstrates that mixing media and blurring distinctions has for some time now been the order of the day. The http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png PAJ: A Journal of Performance and Art MIT Press

Performance Geometries—A Primer

Loading next page...
 
/lp/mit-press/performance-geometries-a-primer-nSMCGKuW91

References (1)

Publisher
MIT Press
Copyright
© 2013 Ryan Anthony Hatch
Subject
Art & Performance Notes
ISSN
1520-281X
eISSN
1537-9477
DOI
10.1162/PAJJ_a_00146
Publisher site
See Article on Publisher Site

Abstract

art & performance notes Habit, conceived and directed by David Levine. Photo: Julieta Cervantes. Courtesy French Institute Alliance Française. Performance Geometries — a Primer Ryan Anthony Hatch Crossing the Line Festival, presented by the French Institute Alliance Française, New York City, September 14–October 14, 2012. The stage is the line which stands across the path of the optic pencil, tracing at once the point at which it is brought to a stop and, as it were, the threshold of its ramification. Roland Barthes, “Diderot, Brecht, Eisenstein” I: LInes Brian Rogers’s claustrophobic, seductive video/performance piece. In dance, the Tanztheater aesthetic continues to dominate the field — a fact to which Raimund Hoghe’s Pas de Deux, Jack Ferver’s Mon Ma Mes, and Faustin Linyekula’s Le Cargo, all bear dramatic witness. And in the gallery art world, immaterial happenings that engage the beholder in immersive experiences and leave little or no trace are pushing visual art to the outer limit of theatrical ephemerality, a limit point on which David Levine has staked the better part of his career. Even a cursory survey demonstrates that mixing media and blurring distinctions has for some time now been the order of the day. The

Journal

PAJ: A Journal of Performance and ArtMIT Press

Published: May 1, 2013

There are no references for this article.