Deadline for submission: February 5, 2022
This call for papers concerns a doctoral seminar in performing arts and cinema, open to all doctoral students in performing arts and film studies, as well as doctoral students in visual and performative arts, or in history. art.
Cinema, theatre, circus or dance have a very strong link with History. However, the gap between what is said and what is shown, between discourse and figuration, representations and infigurability in cinema as in the performing arts, allows us to question the power of images as vectors of memories. They are shared with a sensitive discontinuity thanks to “a shared experience of a ‘world in common'” (Sylvie Rollet, Théo Angelopoulos, over time, revue Theorem n° 9, Paris, Presses Sorbonne Nouvelle, 2007, p. 8). Whether they are works made from archives, first-person narratives, or even choreographic gestures, the creations that we will discuss during this doctoral seminar belong to these works-testimonies as well as to these tear-works to the historical-critical dimension.
The recomposed and decomposed bodies, the cutting, the assembling, the traumatic contacting participate in the unveiling, the gesture of openness which offers us to a world that is shattered as much as it tears us apart. These memory-works open up to us and close in on us insofar as ” [elles] arouse in us an inner experience marked by […] gap” (Georges Didi-Huberman, The open image, motifs of incarnation in the visual arts, Paris, Gallimard, 2007). Entering these theaters and cinemas of precarious orders, unveiling them in order to account for the memories that inhabit them and that inhabit us, haunt us, is the subject of this seminar.
How to apprehend these opening experiences? How to conceive these works-memories and their tears? What memorial transports do they engender?
These questions are more broadly part of an artistic and political topicality that questions our relationship to images and their reuse. While we are witnessing a competition between memories in our hyper-modern societies, where the number of images and co-existing testimonies are exploding, what can we also do with the regime of “amateur” images posted on the net, and their receptions by other potential actors of History? What place(s) should we give them? How to apprehend the excess of memories and the tears it causes? And what to do with the voices of the witnesses who invite themselves on stage? How to apprehend them? What to do with the reuse of these images and these voices in theater and cinema, where repetition blurs authenticity?
Terms
This doctoral seminar organized within the Litt&Arts laboratory is more widely open to all doctoral students in the performing arts and film studies, as well as to doctoral students in visual and performative arts, or in the history of art.
The 2-hour sessions will take place on the campus of the University of Grenoble Alpes, once a month from the end of February 2022. Given the resumption of the Covid epidemic, a dematerialized form of the seminar remains possible.
Intervention proposals, of around 300 words, should be sent by February 5, 2022 to Célia Jerjini and Anaïs Tillier.
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