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http://bura.brunel.ac.uk/handle/2438/22413
Title: | ‘Hybridity and Experimental Aesthetics in the Performances of Anne Imhof’ |
Authors: | Broadhurst, S |
Keywords: | Anne Imhof;Sex;Hybridity;Richard Wagner;‘Total Art-Work’ (Gessamtkunstwerk);Music-Drama;Multi-layeredness;Experimental aesthetics;Maurice Merleau-Ponty;Somatized empathy;Friedrich Nietzsche;Temporal effect |
Issue Date: | 5-Mar-2021 |
Publisher: | Open Library of Humanities |
Citation: | Broadhurst, S., 2021. Hybridity and Experimental Aesthetics in the Performances of Anne Imhof. Body, Space & Technology, 20(1), pp.1–13. |
Abstract: | I consider that ‘Hybridity’ in performance is definable as, variously, the blurring and combining of traditional theatre, dance, music, art and ‘everyday life’ into single works; the trading of differences between ‘high’ and ‘low’ cultural registers; the merging together of seemingly inconsistent notions of time, space and identity, and the destabilization of audience identification and affective standpoints. Anne Imhof’s hybridized performance is a fusion of media: painting, music and architecture, also known for its particular vocabulary of movement, its multi-layeredness, and incorporation of technology. There is an emphasis on the sensual and playful nature of the body, which, by experimental and technological means, is extended, reconfigured and yet identifiable as a locus of infinite variability. My paper will address theoretical sources before moving on to how these have manifested and been reciprocally reinterpreted by a variety of approaches in Imhof’s realisation of her work Sex performed in the Tate Modern ‘Tanks’ in London 2019. |
URI: | http://bura.brunel.ac.uk/handle/2438/22413 |
DOI: | http://dx.doi.org/10.16995/bst.358 |
ISSN: | 1470-9120 |
Appears in Collections: | Dept of Arts and Humanities Research Papers |
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