Theatres of Immanence

Cull, Laura

doi:10.1057/9781137291912

Cited by 42 publications

(2 citation statements)

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“…address an ancient problem that appears as a recurring theme in Western thought and gains interest in contemporary debates concerning performance and immanence (Cull 2012;Rokem 2017); namely, theatrical mimesis as an embodied, non-representational concept (Gebauer and Wulf 1995;Murray 1997;Potolsky 2006) and the anthropological notion of imitation as contagion and intoxication (Girard 1974;Nancy 2015;Tarde 2010). In that context, Plato's Ion is placed precisely at the tension point between philosophy and literature, embodying "the ancient quarrel between philosophy and poetry" (see also Corby 2015;Plato 2013a), hovering between the intoxicating power of performance and the quest for critical reasoning.…”

Section: Instead Of Making General Claims About What the Ion Fundamenmentioning

confidence: 99%

Altering Bodies: Thinking of intervention through impersonation

Hadikoesoemo

2020

Performance Philosophy

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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.

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Section: Instead Of Making General Claims About What the Ion Fundamenmentioning

confidence: 99%

Altering Bodies: Thinking of intervention through impersonation

Hadikoesoemo

2020

Performance Philosophy

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“…This is perhaps because it seemingly lacks any political context. However, if we consider such imagery in relation to Deleuze’s claim that philosophy needs to focus its attention upon molecular processual movement – upon ‘movement in itself, or relation per se rather than focusing on the object moved or the things related’ (Cull, 2013: 71), there is a sense in which, in its purity of movement, Op Art could be positioned as the most political of arts. This resonance is not lost on Deleuze–Guattari – indeed on the brief occasions when Op Art is addressed, it is evoked as an ethical ideal, in the context of describing ‘actual’ forms of political practice.…”

Section: References To Op Art In the Work Of Deleuze And Guattarimentioning

confidence: 99%

(In)Animate Semiotics: Virtuality and Deleuzian Illusion(s) of Life

Roberts

2019

Animation

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It is well known that despite his close engagement with cinema, Gilles Deleuze was less concerned with animated film, being somewhat dismissive of its capabilities. In recent years, however, a number of attempts have been made-most notably by William Schaffer, Thomas Lamarre, and Dan Torre to construct Deleuzian positions in animation theory. This paper outlines some of these approaches, whilst engaging critically with Torre's writings. In particular, it foregrounds Torre's neglect of the post-structural, political dimension of Deleuzian thought, through an examination of the concepts of faciality, the close up, and relation as they occur in Deleuzian and Deleuzo-Guattarian philosophy. This is in part facilitated through a comparison of Stuart Blackton's Humorous Phases of Funny Faces (1906)a work directly addressed by Torre, and Emile Cohl's Fantasmagorie (1908)a work which he largely passes by. It is claimed here, that despite a number of apparent similarities, the animations of Cohl and Blackton express a radically divergent series of ontological commitments. Cohl offers the audience an experience of chaotic, mutable, relational complexity that revels in its incoherence, whilst Blackton presents a series of more straightforward set pieces, dwelling for the most part upon object-centric representational form. The tension between representation and becoming that occurs between these works is employed to facilitate a critical engagement with Torre's process-cognitivism. It is suggested that Torre's work, though exceptional in its pedagogic value, is likewise expressive of this tension, and that in its effort firstly to combine a series of process philosophical and cognitivist ideas, and secondly to unpack the radical ideas of Deleuze through the more conservative philosophy of Nicholas Rescher, it runs the risk of falling back into a quasi-Kantian philosophy of generality and representation.

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Duets and (Self-)portraits: Choreographing the Im/personal

Domm

2019

Jonathan Burrows

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Theatres of Immanence

Cited by 42 publications

References 0 publications

Altering Bodies: Thinking of intervention through impersonation

Altering Bodies: Thinking of intervention through impersonation

(In)Animate Semiotics: Virtuality and Deleuzian Illusion(s) of Life

Duets and (Self-)portraits: Choreographing the Im/personal

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