https://www.peren-revues.fr/revue-k/568 Entrées d’index fr 0 https://www.peren-revues.fr/revue-k/943 Pinocchio’s myth is an invite to think the “I” in different aspects: human, organic, material. In Pinocchio (live) by Alice Laloy (a play between choreography and puppetry), children are turned into puppets under the eyes of the spectators. At the end, they offer a “trance-dance”, with a choreographic gesture between mechanical and living bodies. From children to puppets, from inanimate body to dance, how can the choreographic gesture be seen as an alienation’s process? lun., 15 janv. 2024 12:13:38 +0100 mar., 13 févr. 2024 11:20:28 +0100 https://www.peren-revues.fr/revue-k/943 https://www.peren-revues.fr/revue-k/570 According to Rancière’s lesson on the nature of visibility, cinema’s prerogative to derail the order of discourse is an indication of the aesthetic-political potential of the body-image. In this sense, the erratic movement and the unpredictability of the ironic gesture find in Charlot an impressive incarnation, in the name of the incomparability between situations revealed by the “burlesque” action through the expression of infinitely small differences. mer., 03 janv. 2024 15:07:59 +0100 mer., 03 janv. 2024 15:10:11 +0100 https://www.peren-revues.fr/revue-k/570 https://www.peren-revues.fr/revue-k/565 Mime is a central figure in Gilles Deleuze’s Logic of Sense. Starting with a reprise of Deleuzian reference to mime, this essay would try to analyse the re-emergence of mime within the French philosopher's reflection on cinema through the paradigmaticity of the most famous of Charlie Chaplin’s inventions: Charlot. mer., 03 janv. 2024 14:12:20 +0100 mer., 03 janv. 2024 15:09:32 +0100 https://www.peren-revues.fr/revue-k/565