{"id":979,"date":"2020-10-10T06:45:13","date_gmt":"2020-10-10T06:45:13","guid":{"rendered":"https:\/\/www.critical-stages.org\/21\/?page_id=979"},"modified":"2020-10-10T06:48:37","modified_gmt":"2020-10-10T06:48:37","slug":"un-terrain-instable-nouveaux-rapports-entre-spectacle-et-politique","status":"publish","type":"page","link":"https:\/\/www.critical-stages.org\/21\/un-terrain-instable-nouveaux-rapports-entre-spectacle-et-politique\/","title":{"rendered":"Un terrain instable : nouveaux rapports entre spectacle et politique"},"content":{"rendered":"\n<div class=\"wp-block-image\"><figure class=\"alignright size-large\"><a href=\"https:\/\/www.critical-stages.org\/21\/unstable-grounds\/\"><img loading=\"lazy\" decoding=\"async\" width=\"40\" height=\"30\" src=\"https:\/\/www.critical-stages.org\/21\/wp-content\/uploads\/sites\/22\/2020\/10\/UK.png\" alt=\"\" class=\"wp-image-982\"\/><\/a><\/figure><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Responsables invit\u00e9s\u00a0: <strong>Gigi Argyropoulou<\/strong> et <strong>Stefanie Sachsenmaier<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dans ce dossier, nous \u00e9tudierons le travail de production de spectacles dans des conditions instables, marqu\u00e9es par le contexte sociopolitique, environnemental, \u00e9conomique et d\u2019autres d\u00e9fis. On s\u2019int\u00e9ressera particuli\u00e8rement aux comptes rendus, reconfigurations et mutations des pratiques performatives cherchant \u00e0 r\u00e9agir et \u00e0 \u00ab&nbsp;demeurer au c\u0153ur des difficult\u00e9s&nbsp;\u00bb (Haraway, 2016) du temps pr\u00e9sent. En r\u00e9fl\u00e9chissant au sujet et au-del\u00e0 du \u00ab&nbsp;virage social&nbsp;\u00bb (Jackson, 2011&nbsp;; Bishop, 2006&nbsp;; Kester, 2011) des derni\u00e8res ann\u00e9es, ce dossier \u00e9tudiera les mod\u00e8les qui repensent aux rapports entre spectacle et politique, permettant l\u2019av\u00e8nement de reconfigurations performatives qui questionnent les pratiques s\u00e9diment\u00e9es. Par des exemples pr\u00e9cis de pratiques performatives, en s\u2019int\u00e9ressant aux formes \u00e9mergentes, esth\u00e9tiques, aux processus d\u2019\u00e9laboration, aux m\u00e9thodes et aux p\u00e9dagogies, notre dossier cherchera \u00e0 montrer comment la repr\u00e9sentation pourrait remettre en question les imageries sociales et offrir des structures permettant d\u2019\u00eatre et de vivre autrement.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Vu l\u2019actuelle pand\u00e9mie de la COVID-19, le secteur des arts du spectacle s\u2019est trouv\u00e9 en grande partie inactif. Aussi, la convergence d\u2019enjeux complexes dans ce domaine et au-del\u00e0, d\u00e9clench\u00e9s par la pand\u00e9mie ainsi que par le mouvement Black Lives Matter, sans oublier la crise environnementale, oblige \u00e0 d\u00e9faire et \u00e0 r\u00e9organiser le politique, le social, le culturel et l\u2019existentiel. En lien avec les conditions actuelles autant qu\u2019historiques qui y sont associ\u00e9es, ce dossier s\u2019int\u00e9ressera aux questions suivantes&nbsp;:<\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>Comment les travailleurs culturels pourraient-ils profiter de conditions instables pour s\u2019engager dans un processus de \u00ab&nbsp;rupture partag\u00e9e&nbsp;\u00bb (Harney et Moten, 2018)&nbsp;?<\/li><li>De quelles mani\u00e8res la repr\u00e9sentation pourrait-elle contribuer \u00e0 secouer le \u00ab&nbsp;terrain du sensible&nbsp;\u00bb (Ranci\u00e8re, 2007)&nbsp;?<\/li><li>Quelles m\u00e9thodes et quels outils sont d\u00e9velopp\u00e9s dans la mise en \u0153uvre des spectacles, qui pourraient servir de mod\u00e8les de \u00ab&nbsp;praxis affirmative&nbsp;\u00bb (Braidotti, 2016)&nbsp;?<\/li><li>Comment les processus de mise en \u0153uvre participent-ils \u00e0 l\u2019\u00e9laboration d\u2019une \u00ab&nbsp;strat\u00e9gie \u00e9mergente&nbsp;\u00bb (brown, 2017)&nbsp;?<\/li><\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">Dans ce num\u00e9ro \u00e0 facture mixte de notre revue Web r\u00e9vis\u00e9 par des pairs, nous aimerions publier des articles de fond, mais aussi des manifestes, des r\u00e9flexions critiques, faire place \u00e0 des illustrations, des vid\u00e9os et envisager d\u2019autres formes de cr\u00e9ation. \u00c0 titre indicatif, mais sans exhaustivit\u00e9, voici une s\u00e9rie de sujets et de questions que l\u2019on pourra traiter&nbsp;:<\/p>\n\n\n\n<ul class=\"wp-block-list\"><li>Nouvel avenir de l\u2019\u00e9cologie et du spectacle<\/li><li>Le spectacle pendant\/apr\u00e8s la pand\u00e9mie (espaces num\u00e9riques et alternatifs)<\/li><li>Le spectacle &nbsp;comme intervention\/protestation<\/li><li>Modes collectifs d\u2019organisation des spectacles<\/li><li>Spectacle de\/en rupture<\/li><li>Racisme et in\u00e9galit\u00e9s sociales<\/li><li>Savoirs indig\u00e8nes<\/li><li>Queer et contre-publics<\/li><li>Traditions f\u00e9ministes radicales<\/li><li>Spectacle et environnement<\/li><li>Spectacle et pens\u00e9e post-humaine<\/li><li>Spectacle &nbsp;en tant que\/et sortie\/fuite\/retrait\/immobilisme<\/li><li>Relations radicales de spectacles &nbsp;en p\u00e9riode d\u2019instabilit\u00e9<\/li><li>Approches n\u00e9o-mat\u00e9rialistes d\u2019\u00e9laboration de spectacles et d\u00e9boulonnage de structures<\/li><\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">On consid\u00e9rera autant des articles longs que de courts textes provocants, avec des illustrations et d\u2019autres propositions artistiques multim\u00e9dias. Nous invitons particuli\u00e8rement les artistes, universitaires et chercheurs repr\u00e9sentant des majorit\u00e9s \u00e0 l\u2019\u00e9chelle mondiale. Pour information sur la soumission d\u2019articles, consulter&nbsp;: <a href=\"https:\/\/www.critical-stages.org\/submission-guidelines\/\">https:\/\/www.critical-stages.org\/submission-guidelines\/<\/a> La version fran\u00e7aise est \u00e0 droite.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Dates de tomb\u00e9e<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Propositions (r\u00e9sum\u00e9s de 2000 car. et br\u00e8ve bio)\u00a0: le <strong>30 octobre 2020<\/strong><br>Premi\u00e8re version\u00a0: le <strong>20 janvier 2021<\/strong><br>Version finale\u00a0: le <strong>10 avril 2021<\/strong><br>Publication\u00a0: <strong>juin 2021<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Pour toute proposition d\u2019article, soumission ou demande d\u2019information, s\u2019adresser \u00e0&nbsp;:<\/p>\n\n\n\n<p class=\"has-text-align-center wp-block-paragraph\">Dr <strong>Gigi Argyropoulou <\/strong>(<a href=\"mailto:argyropoulougigi@gmail.com\">argyropoulougigi@gmail.com<\/a>) et \u00e0 <br>Dr <strong>Stefanie Sachsenmaier<\/strong> (<a href=\"mailto:s.sachsenmaier@mdx.ac.uk\">s.sachsenmaier@mdx.ac.uk<\/a>).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>BIOS<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Gigi Argyropoulou<\/strong> (PhD Roehampton University, MA Dartington) est une chercheuse, dramaturge, th\u00e9oricienne et curatrice qui travaille sur les pratiques culturelles et de la repr\u00e9sentation. Elle a \u00e9t\u00e9 l\u2019initiatrice de programmes publics, d\u2019interventions, de spectacles, de colloques, de festivals et de projets culturels \u00e0 la fois au sein d\u2019institutions et en dehors de celles-ci. Elle a enseign\u00e9 au premier et au second cycles universitaires, au R.U. et en Europe. Gigi a re\u00e7u le prix Routledge en 2012 et la Dwight Conquergood Award en 2017. Co-responsable du dossier de Performance Research \u00ab\u00a0On Institutions\u00a0\u00bb, elle publie r\u00e9guli\u00e8rement dans des revues savantes, des ouvrages et des magazines. <a href=\"https:\/\/gigiargyropoulou.wordpress.com\/bio\/\">https:\/\/gigiargyropoulou.wordpress.com\/bio\/<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Stefanie Sachsenmaier<\/strong> (PhD Middlesex University, DEA Sorbonne Nouvelle, MA Goldsmiths, SFHEA) est Senior Lecturer en arts du th\u00e9\u00e2tre \u00e0 l\u2019Universit\u00e9 Middlesex et responsable du programme de BA Theatre Performance and Production, ainsi que Fellow HEA Senior. Ses recherches portent sur les processus de pratique de cr\u00e9ation, avec un int\u00e9r\u00eat particulier pour l\u2019\u00e9largissement des pratiques spectaculaires en fonction du contexte sociopolitique. Elle a co-publi\u00e9 <em>Collaboration in Performance Practice: Premises, Workings and Failures<\/em>, Palgrave Macmillan, 2016, en plus de faire para\u00eetre une s\u00e9rie de textes li\u00e9s \u00e0 sa recherche \u00e0 long terme sur la chor\u00e9graphe britannique Rosemary Butcher.<\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-979","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":993,"url":"https:\/\/www.critical-stages.org\/21\/dramaturgies-orales-sonores\/","url_meta":{"origin":979,"position":0},"title":"Dramaturgies orales\/sonores","author":"cs2-admin","date":"October 25, 2020","format":false,"excerpt":"R\u00e9dactrices invit\u00e9es: Du\u0161ka Radosavljevi\u0107 et Flora PitroloD\u00e9cembre 2021 (#24) Au cours des derni\u00e8res d\u00e9cennies, on a constat\u00e9 un int\u00e9r\u00eat accru chez les gens de th\u00e9\u00e2tre pour la parole et le son comme points de d\u00e9part de la cr\u00e9ation th\u00e9\u00e2trale. 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