Fragmented Subjectivity: Environment as a Performer

k 2022

Fragmented Subjectivity: Environment as a Performer

TURZÍKOVÁ, Tereza

Základní údaje

Originální název

Fragmented Subjectivity: Environment as a Performer

Název česky

Roztříštěná subjektivita: Environment jako performer

Autoři

TURZÍKOVÁ, Tereza

Vydání

5th EASTAP Conference. Theatrical Mind: Authorship, Staging and Beyond. Milano, 2022

Další údaje

Jazyk

angličtina

Typ výsledku

Prezentace na konferencích

Obor

60403 Performing arts studies

Stát vydavatele

Česká republika

Utajení

není předmětem státního či obchodního tajemství

Odkazy

Fifth EASTAP Conference Theatrical Mind: Authorship, Staging and Beyond

Organizační jednotka

Filozofická fakulta

Klíčová slova česky

Pierre Huyghe; hyperobjekty; instalace; Timothy Morton; posthumanismus; performance

Klíčová slova anglicky

Pierre Huyghe; hyperobjects; living environments; Timothy Morton; posthumanism; performance

Příznaky

Mezinárodní význam

Změněno: 4. 1. 2023 09:53, Mgr. Tereza Teerink Turzíková

Anotace

V originále

How can we conceptualize subjectivity and authorship in performing arts in the light of accelerating technological development, environmental crisis and global pandemic? In my contribution, I would like to capture the ways in which the environment or even the planet itself can be understood as a performer. To illuminate the performative potential of the Earth, we need to abandon the idea of the planet as a blue-green sphere serving humans and other species as a temporary residence and a resource, but instead to try to perceive the Earth as complex networks of relationships between organisms and their environment, static elements and their variables as well as physical forces, evolutionary development, and the potentialities of other forms that the planet can acquire over a wide temporal horizon. Concepts and ideas of posthuman thinking may help understand how we can perceive nature’s processes, animal behavior and relations within the environment as a form of artistic practice, even though humans remain to be limited by their own definition of art and the aesthetic. On the case studies of Pierre Huyghe’s performative environments, I will showcase ways of rethinking the anthropocentric ideals of the human genius, the dominant position of the author and prejudicial concepts inherited from Wester art canon. In this line of thinking, art can then serve as a utopian space or a laboratory, in which we can act out and test alternative modes of being, and inhabit the planet in ways beneficial to all species, plants, minerals, water streams and other Earth’s agents.

Návaznosti

MUNI/A/1528/2021, interní kód MU

Název: Výzkum divadelní kultury v interdisciplinárních přesazích III. (Akronym: DIVADLO)

Investor: Masarykova univerzita, Výzkum divadelní kultury v interdisciplinárních přesazích III.

Citovat

TURZÍKOVÁ, Tereza. Fragmented Subjectivity: Environment as a Performer. In 5th EASTAP Conference. Theatrical Mind: Authorship, Staging and Beyond. Milano. 2022.

@proceedings{1857022,
   author = {Turzíková, Tereza},
   booktitle = {5th EASTAP Conference. Theatrical Mind: Authorship, Staging and Beyond. Milano},
   keywords = {Pierre Huyghe; hyperobjects; living environments; Timothy Morton; posthumanism; performance},
   language = {eng},
   title = {Fragmented Subjectivity: Environment as a Performer},
   url = {https://eastap.com/2022/04/01/fifth-eastap-conference-theatrical-mind-authorship-staging-and-beyond/},
   year = {2022}
}

TY  - CONF
ID  - 1857022
AU  - Turzíková, Tereza
PY  - 2022
TI  - Fragmented Subjectivity: Environment as a Performer
KW  - Pierre Huyghe
KW  - hyperobjects
KW  - living environments
KW  - Timothy Morton
KW  - posthumanism
KW  - performance
UR  - https://eastap.com/2022/04/01/fifth-eastap-conference-theatrical-mind-authorship-staging-and-beyond/
N2  - How can we conceptualize subjectivity and authorship in performing arts in the light of accelerating technological development, environmental crisis and global pandemic? In my contribution, I would like to capture the ways in which the environment or even the planet itself can be understood as a performer. To illuminate the performative potential of the Earth, we need to abandon the idea of the planet as a blue-green sphere serving humans and other species as a temporary residence and a resource, but instead to try to perceive the Earth as complex networks of relationships between organisms and their environment, static elements and their variables as well as physical forces, evolutionary development, and the potentialities of other forms that the planet can acquire over a wide temporal horizon. Concepts and ideas of posthuman thinking may help understand how we can perceive nature’s processes, animal behavior and relations within the environment as a form of artistic practice, even though humans remain to be limited by their own definition of art and the aesthetic. On the case studies of Pierre Huyghe’s performative environments, I will showcase ways of rethinking the anthropocentric ideals of the human genius, the dominant position of the author and prejudicial concepts inherited from Wester art canon. In this line of thinking, art can then serve as a utopian space or a laboratory, in which we can act out and test alternative modes of being, and inhabit the planet in ways beneficial to all species, plants, minerals, water streams and other Earth’s agents.
ER  -

TURZÍKOVÁ, Tereza. Fragmented Subjectivity: Environment as a Performer. In \textit{5th EASTAP Conference. Theatrical Mind: Authorship, Staging and Beyond. Milano}. 2022.

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