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CIPN - 4 June 2019 - Grotesque(ing) Bodies

CIPN - 4 June 2019 - Grotesque(ing) Bodies

Released Tuesday, 11th June 2019
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CIPN - 4 June 2019 - Grotesque(ing) Bodies

CIPN - 4 June 2019 - Grotesque(ing) Bodies

CIPN - 4 June 2019 - Grotesque(ing) Bodies

CIPN - 4 June 2019 - Grotesque(ing) Bodies

Tuesday, 11th June 2019
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Nancy Worman (Professor of Classics, Columbia University)

Karen Throsby (Associate Professor in Sociology and Social Policy, University of Leeds)

Marina Galetaki (Classics, University of Bristol)

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Performance Network

The Cambridge Interdisciplinary Performance Network brings together people from a wide variety of disciplines in Cambridge and beyond who are engaging with performance as a concept, from music and literary studies to anthropology, architecture and medicine. It asks how these varied interests might relate, intersect and interact.Interest in performance reflects a movement away from thinking in terms of immutable objects and singular subjects. It focuses attention on collective contexts. It also models a different way to mean: so performances, theatricality, theatre, and the arts in practice are relevant, too. But the group’s main focus is on the potential of the idea of performance as an umbrella approach to culture: a 'kind of thinking in its own right' (Cull/Minors 2012).What does it mean to frame, stage, display or enact? In what sense might all forms of self-consciously public statements – art, politics, academic discourse – be seen as performance?How is our post-print digital era, with its forces of equivalence and convergence, prompting reconsideration of traditional categories and boundaries – ie of the disciplinary itself?How do we understand objects (fixed, a record) when they cannot exist separate from their experience on the part of somebody or other (time-bound, embodied)?How do we understand the subject when it depends on imagined and actual collectivities to position itself?Each session will be organized around two short but very different presentations, followed by a discussion. We hope that these discursive encounters might suggest some of the potential benefits of greater dialogue between disciplines, and between the academy and creative practice more generally.

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