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Hysterical aesthetics in contemporary performance: Theatre, dance, voice
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In: Research outputs 2014 to 2021 (2021)
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Lara Stevens, Anti-war theatre after Brecht: Digital aesthetics in the 21st Century [Book review]
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In: Research outputs 2014 to 2021 (2018)
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A dramaturgy of montage and dislocation: Brecht, Warburg, Didi-Huberman, and the Pathosformel
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In: Research outputs 2014 to 2021 (2017)
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Abstract:
Drawing on the art historical criticism of Georges Didi-Huberman and Aby Warburg, Brecht is here reconsidered as a montage artist who not only produces on-stage juxtapositions, but one whose dramaturgy fractures and divides the body against itself in its fleeting response to pain-what Warburg called the "pathos formula" By keeping constituents within a state of suspended tension, Didi-Huberman argues such iconographic formulations communicate not only "knowledge-visible, legible, or invisible-but . the intertwinings, even the imbroglio, of transmitted and dismantled knowledges" and "notknowledges." The perpetual sufferings of history elude full visibility, emerging "like a flash" within a dramaturgy of dialectical montage. This gives such a dramaturgy its ethical character.
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Keyword:
Aesthetics & Cultural Theory; Art History; Arts & Science; Criticism and Theory; Drama & Theatre Studies; Dramatic Literature; Ethics & Moral Philosophy; Literature; Literature and Cultural Studies; Performing Arts; Philosophy
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URL: https://ro.ecu.edu.au/ecuworkspost2013/4999
https://brill.com/abstract/title/34905?rskey=FuQNhg&result=1
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Staging critical history within the space of the beat; or: What cultural historians can learn from Public Enemy, NTM, MC Solaar & George Clinton
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In: Research outputs 2014 to 2021 (2015)
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