The Question of the Scene: On the Philosophical Foundations of Theatrical Anthropocentrism

Kirkkopelto, Esa

doi:10.1017/s0307883309990034

Cited by 14 publications

(6 citation statements)

References 1 publication

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…In every case and phenomenologically, the existence or persistence of a scene is very much dependent on what is happening "there", namely on the corporeal performance of an actor. (Kirkkopelto, 2009) Merely a simple gesture from the performer is sufficient for introducing and opening a scene, the scene of that gesture. For the same reason, we need to suppose that the "scenicality" of the scene is somehow implied in that performance itself.…”

Section: The Scenementioning

confidence: 99%

Phenomenological Actor

Kirkkopelto

2022

P & P

Self Cite

View full text Add to dashboard Cite

In this article, I will open my artistic research process from the phenomenological point of view, by aiming at identifying its phenomenological aspects and potential. My presentation will proceed as a series of practical demonstrations, which enable us to perceive how an actor as a scenic performer conceives their corporeal practice and what kind of phenomena they produce, encounter and operates with. The experience and idea of corporality, rising from the scenic practices described, set new kind of challenges to the phenomenology of embodiment.

show abstract

Section: The Scenementioning

confidence: 99%

Phenomenological Actor

Kirkkopelto

2022

P & P

Self Cite

View full text Add to dashboard Cite

show abstract

“…Going (back) to the theatre is therefore a sort of imperative for Lacoue-Labarthe. It is precisely the paradox of coincidence and noncoincidence of the "scenic gesture" with itself (Kirkkopelto 2009) that connects the unstable status of the subject, mimesis, philosophy and the theatre with each other.…”

Section: Lacoue-labarthe Paradox and Impersonation As Interventionmentioning

confidence: 99%

Altering Bodies: Thinking of intervention through impersonation

Hadikoesoemo

2020

Performance Philosophy

View full text Add to dashboard Cite

This essay stages a philosophical dialogue between one of Plato’s earliest and shortest works, Ion, and Philippe Lacoue-Labarthe’s deconstructive reflections on Diderot’s paradox of the actor. It takes the rhapsodic practice of the ancient figure of Ion as a reference point for thinking about the performer’s intoxicating nature and investigates its philosophical, bodily and psychological implications as well as its critical potential. It will proceed in three stages. The first part takes a detailed look at the absolute focal point of Ion, namely the analogy between the rhapsode’s intoxication and the Heraclean lodestone. The second part addresses the ‘logic’ of the magnet specifically from Ion’s point of view, which entails a critique of Socrates’ assumption of Ion being ‘out of his wits’ when he performs. The final part shows, with the help of Lacoue-Labarthe’s radicalization of Diderot’s paradox – the actor is nothing and everything at the same time – how Ion’s intoxicating impersonations can be considered an imperative for catharsis and critical intervention.

show abstract

“…If, on the one hand, the difference between the animation of body parts or objects and scenic play (no matter what the degree of identification -the embodiment of a character or more "alienated" acting) is only slight, and if on the other hand all human behaviour can be considered from a scenic perspective (Kirkkopelto 2009), then one has to suppose that the (human) body is all the time susceptible to a certain virtualisation, as I would call it here. 11 It is dividing itself and detaching from itself, creating prosthetic bodily images of its "own" life.…”

Section: Exercise 2: Asteroidsmentioning

confidence: 99%

Joints and Strings: On the Anatomy of the Performing Body

Kirkkopelto¹

2016

Self Cite

View full text Add to dashboard Cite

This article concerns the ontological status of the performing body. What if it were not considered derivative in relation to any kind of discursive construction or any kind of pre-existent materiality or force? What if it were taken as a starting point of our attempts to understand the linguistic and material aspects of our bodily co-existence? If so, our ideas of what a body can do while performing, and what it consists of, have to change radically. The anatomy of the performing body is studied through a series of scenic experiments and practical examples, and the argumentation rests on the evidence thus provided. On the philosophical level the discussion focuses on ’object-oriented ontology’ and its representatives. The indications are that our understanding of objects, objectivity and things in general is based on our understanding of bodies as linguistic entities. Becoming a performing body means becoming a linguistic body, and vice versa. This does not take us back to ‘transcendentalism’ or ‘correlationism’, however. The equality of all things, claimed by ‘ooo’ proponents, can only be achieved via the medium of the performing body as an equalizing instance.

show abstract

The Question of the Scene: On the Philosophical Foundations of Theatrical Anthropocentrism

Cited by 14 publications

References 1 publication

Phenomenological Actor

Phenomenological Actor

Altering Bodies: Thinking of intervention through impersonation

Joints and Strings: On the Anatomy of the Performing Body

Contact Info

Product

Resources

About