Read moreAs part of the CORPS Project (CORporéités et COnsentement dans les Pratiques Physiques et Sportives) supported by the Ministry of Higher Education and Research, the ENACR (National School of Circus Arts of Rosny-Sous-Bois) and the Delegation for Equality and the Fight against Gender Discrimination of the UPJV (University of Picardie Jules Verne) are joining forces with the MCA (Maison de la Culture d'Amiens) to offer two days of discussion and reflection on current circus and performance practices involving transformations in the representations of corporealities. For several years, proposals from artists from performance, circus, visual arts or performing arts have tended to merge and adopt biases that stimulate, confuse, disturb, question, destabilize, caricature or even revolutionize representations of corporeality. This workshop for reflection, spread over two days dedicated to current creations inscribed in feminist and/or queer sensibilities, will offer the framework conducive to the exchange of practices, stories of experiences and analysis. Four main axes (non-exhaustive) then allow us to think about the transformations of representational choices in current creation: The claim of opacity or a right not to be immediately readable. This claim can be made through caricatured, stereotyped, hidden, masked, costumed, augmented with prosthetics, creolized, drag-styled, zombified bodies, postures, appearances, gestures or genres, associating human and non-human referents, cyborgs or humanoids… Self-constructed and appropriated legacies based on figures, rituals and practices of struggle. It is then up to the artists to highlight the figures (femmages and queerages), the spaces or the milestones of a common history (feminist, queer, decolonial, radical, intersectional, anti-capitalist, etc.). This story is then written, shown, thought out, reinvented in the manner of a crossing of genres, relating to self-constructed or appropriated legacies. In a similar vein, the practices of quoting or referring to vernacular, carnivalesque, charivaric, divinatory rituals, linked to demonstrations, political struggles, radical, underground or popular cultural practices which innervate creation and ways of being are a concordant path that can be identified in these recent creations. It is also about questioning the creation of legacies and their future. The representation of alternative narratives. The writings embody affects, stigmata, care practices, the intimacy of sensations, sexualities, bodily artifacts, illnesses or the organs themselves. These stories and writings also allow the evocation of micropolitical stories and the construction of multitudes, carried by plural voices, which allow us to rethink the forms of the solo as much as the uses of languages. The choice of interpreters. We will be interested in the way in which artistic choices make it possible to create a family, network or community by soliciting artists and performers through personal, political and aesthetic affinities, due to shared or specific experiences (subjectivation, disidentification, reversal of othering processes). What types of links unite the performers among themselves? Between performers and initiators of creations? It will also be a question of determining how artistic choices organize the presence of bodies and people on stage. Who has a place on stage? How are these people and their bodies presented? What are the ways in which these people appear?
As part of the CORPS Project (CORporéités et COnsentement dans les Pratiques Physiques et Sportives) supported by the Ministry of Higher Education and Research, the ENACR (National School of Circus Arts of Rosny-Sous-Bois) and the Delegation for Equality and the Fight against Gender Discrimination of the UPJV (University of Picardie Jules Verne) are joining forces with the MCA (Maison de la Culture d'Amiens) to offer two days of discussion and reflection on current circus and performance practices involving transformations in the representations of corporealities.
For several years, proposals from artists from performance, circus, visual arts or performing arts have tended to merge and adopt biases that stimulate, confuse, disturb, question, destabilize, caricature or even revolutionize representations of corporealities. This workshop of reflection, distributed over two days dedicated to current creation inscribed in feminist and/or queer sensibilities, will offer the framework conducive to the exchange of practices, stories of experiences and analysis.
Four main axes (non-exhaustive) then allow us to think about the transformations of representational choices in current creation:
The claim of opacity or a right not to be immediately readable.
This claim can be expressed through caricatured, stereotyped, hidden, masked, costumed, augmented with prosthetics, creolized, drag-styled, zombified bodies, postures, appearances, gestures or genres, associating human and non-human, cyborg or humanoid referents...
Self-constructed and appropriated legacies from figures, rituals and practices of struggle.
It is then for the artists to highlight the figures (femmages and queerages), the spaces or the milestones of a common history (feminist, queer, decolonial, radical, intersectional, anti-capitalist, etc.). This history is then written, shown, thought, reinvented in the manner of a crossing of genres, relating to self-constructed or appropriated legacies. In a comparable order of ideas, the practices of citations or references to vernacular, carnivalesque, charivaric, divinatory rituals, linked to demonstrations, political struggles, radical, underground or popular cultural practices that innervate creation and ways of being are a concordant path that can be identified in these recent creations. It is also a question of questioning the making of legacies and their future.
The representation of alternative narratives.
The writings embody affects, stigmata, care practices, the intimacy of sensations, sexualities, bodily artifacts, diseases or the organs themselves. These stories and writings also allow the evocation of micropolitical narratives and the construction of multitudes, carried by plural voices, which allow us to rethink the forms of the solo as much as the uses of languages.
The choice of interpreters.
We will focus on how artistic choices make it possible to create a family, network or community by soliciting artists and performers through personal, political and aesthetic affinities, due to shared or specific experiences (subjectivation, disidentification, reversal of othering processes). What types of links unite performers among themselves? Between performers and initiators of creations?
It will also be a question of determining how artistic choices organize the presence of bodies and people on stage. Who has a place on stage? How are these people and their bodies staged? What are the modes of appearance of these people?
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