https://www.peren-revues.fr/revue-k/945 Entrées d’index fr 0 https://www.peren-revues.fr/revue-k/540 It has been said a lot that the character of the Tramp was a dancer, but how could we define his choreographic style more precisely? The Tramp is actually torn between two types of dance: classical dance with a geometric character, and contemporary dance that works more with the laws of mechanics (gravity, inertia,...). Thus, the Tramp’s dancing gesture leads him from academism and a desire for mastery to the elaboration, with a set of physical phenomena, of a more uncontrolled movement. mar., 02 janv. 2024 16:18:24 +0100 mar., 11 févr. 2025 14:02:06 +0100 https://www.peren-revues.fr/revue-k/540 https://www.peren-revues.fr/revue-k/1370 The contribution describes a trajectory in the thought of the German journalist and philosopher Siegfried Kracauer. The emergence of mass society is described in these pages in the figures of the Jackson Girls, dance troupes that expressed liberation in the form of entertainment from the cultural traditions inherited from the pre-war period. Dancing, the cult of fun and the thrill generated by an exploding mass society are intertwined in this author with the reflection on the city and its transformations. mer., 26 juin 2024 12:17:56 +0200 mar., 29 oct. 2024 09:52:12 +0100 https://www.peren-revues.fr/revue-k/1370 https://www.peren-revues.fr/revue-k/1368 The article proposes some possible approaches to the figure of Jane Avril, starting from some of Walter Benjamin’s categories. An interpretation based on Benjamin’s theory of language is proposed for the gesture of dance that gives Jane Avril her name. Although Benjamin’s reference to the Paris in which Jane Avril performs remains crucial, the key to the reading suggested here refers above all to concepts such as “Entsetzen”, “pure mediality”, “mimesis” and “shame”, to explore if and how Jane Avril’s “language” is related to a possible theory of “destituent potentiality”. mer., 26 juin 2024 10:07:52 +0200 mar., 29 oct. 2024 09:51:48 +0100 https://www.peren-revues.fr/revue-k/1368 https://www.peren-revues.fr/revue-k/1344 Jane Avril’s Memoirs symbolize the essence of dance within the realm of the event. It depicts the intersection of dance and music, marking the profound metamorphosis of the dancer herself. One can interpret this as an indication of both calling and evolution. Yet, it also invites further exploration, particularly concerning the concept of rhythm and one’s encounter with it. mar., 25 juin 2024 16:24:10 +0200 mar., 29 oct. 2024 09:47:46 +0100 https://www.peren-revues.fr/revue-k/1344 https://www.peren-revues.fr/revue-k/1340 In this article, we present a situated philosophico-choreographic speculation, which starts from a somatic approach of Jane Avril’s dance to reflect on how the activity of dancing contributes to the processes of subjectivity and social production, that is to say, to reflect on the micropolitics of dance. mar., 25 juin 2024 15:11:36 +0200 mar., 29 oct. 2024 09:47:22 +0100 https://www.peren-revues.fr/revue-k/1340 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