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DC Field | Value | Language |
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dc.contributor.author | Broadhurst, S | - |
dc.date.accessioned | 2021-03-13T15:45:52Z | - |
dc.date.available | 2021-03-05 | - |
dc.date.available | 2021-03-13T15:45:52Z | - |
dc.date.issued | 2021-03-05 | - |
dc.identifier.citation | Broadhurst, S., 2021. Hybridity and Experimental Aesthetics in the Performances of Anne Imhof. Body, Space & Technology, 20(1), pp.1–13. | en_US |
dc.identifier.issn | 1470-9120 | - |
dc.identifier.uri | http://bura.brunel.ac.uk/handle/2438/22413 | - |
dc.description.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. | en_US |
dc.format.extent | 1 - 13 | - |
dc.language | en | - |
dc.language.iso | en | en_US |
dc.publisher | Open Library of Humanities | en_US |
dc.subject | Anne Imhof | en_US |
dc.subject | Sex | en_US |
dc.subject | Hybridity | en_US |
dc.subject | Richard Wagner | en_US |
dc.subject | ‘Total Art-Work’ (Gessamtkunstwerk) | en_US |
dc.subject | Music-Drama | en_US |
dc.subject | Multi-layeredness | en_US |
dc.subject | Experimental aesthetics | en_US |
dc.subject | Maurice Merleau-Ponty | en_US |
dc.subject | Somatized empathy | en_US |
dc.subject | Friedrich Nietzsche | en_US |
dc.subject | Temporal effect | en_US |
dc.title | ‘Hybridity and Experimental Aesthetics in the Performances of Anne Imhof’ | en_US |
dc.type | Article | en_US |
dc.identifier.doi | http://dx.doi.org/10.16995/bst.358 | - |
dc.relation.isPartOf | Body, Space & Technology | - |
pubs.issue | 1 | - |
pubs.publication-status | Published | - |
pubs.volume | 20 | - |
dc.identifier.eissn | 1470-9120 | - |
Appears in Collections: | Dept of Arts and Humanities Research Papers |
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FullText.pdf | 1.88 MB | Adobe PDF | View/Open |
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