BEGIN:VCALENDAR VERSION:2.0 PRODID:-//jEvents 2.0 for Joomla//EN CALSCALE:GREGORIAN METHOD:PUBLISH BEGIN:VTIMEZONE TZID:Europe/Paris BEGIN:STANDARD DTSTART:20211031T020000 RDATE:20220327T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20221030T020000 RDATE:20230326T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20231029T020000 RDATE:20240331T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20241027T020000 RDATE:20250330T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20251026T020000 RDATE:20260329T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20261025T020000 RDATE:20270328T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:STANDARD DTSTART:20271031T020000 RDATE:20280326T030000 TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:Europe/Paris CET END:STANDARD BEGIN:DAYLIGHT DTSTART:20210523T100000 RDATE:20211031T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20220327T030000 RDATE:20221030T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20230326T030000 RDATE:20231029T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20240331T030000 RDATE:20241027T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20250330T030000 RDATE:20251026T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20260329T030000 RDATE:20261025T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT BEGIN:DAYLIGHT DTSTART:20270328T030000 RDATE:20271031T020000 TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:Europe/Paris CEST END:DAYLIGHT END:VTIMEZONE BEGIN:VEVENT UID:ebc7b6048e866ebdf021c1b125db31a9 CATEGORIES:Journées d’étude CREATED:20220518T090231 SUMMARY:Reenacting Landscapes LOCATION:Université Paris Nanterre - 200 avenue de la République\, Nanterre\, \, 920 23\, DESCRIPTION:

Reenacting_Landsc apes.jpgIn the bodiless non-places of accelerated capitalis t life, in the anxiety of the Covid present, in the toxic sites of the so-c alled Anthropocene, what does it mean today to get a taste for landscape? W hy should one care, and how might the refined ‘palate’, implicit in conserv ative notion of taste, be reconfigured differently, opened up to democracy and dissensus? We approach these generic questions via a specific route: na mely, by interrogating the performative potential – the theatricality, no l ess – of reenactment, a mode of artistic intervention that since Rebecca Sc hneider’s pioneering study Performing Remains: Art and War in Times of Thea trical Reenactment (2011) has been a common trope within theatre and perfor mance studies as well as art history and visual culture in general. But per haps now – for the reasons intimated above – it is time to rethink and reap ply the idea of reenactment, to come terms, somewhat ironically, with its a fterlives and possibilities.

In this study day we look to interrogate the relationship between reenactment and landscape precisely because the v ery idea of landscape was always already bound up with repetition and re-do ing: the attempt, that is, by landscape gardeners in the eighteenth century to transpose images from paintings into the very material of the landscape itself; to create aestheticised, tasteful ways of seeing and being. In thi s study day, landscape is no longer conceived as a primarily visual practic e or disposition; rather, it is approached as verb, both active and passive , something that one does as a body, as a skin, a choreography, a performan ce, a type of theatre. Equally, taste is not a set of rules or protocols th at one can apply or discover, as if in some manual; it is a sensate experie nce, an open-ended, always corporeal event, something that fills the percei ver with enthusiasm and affect. To get a taste for landscape, in other word s, is to get a taste for life, which, in keeping with the uncanny, troublin g logic of reenactment is also to pay attention to ghosts, spectres and pha ntoms, to make kin with the living dead – all those that refuse to depart t he stage (mise-en-scène).

This study day will be of interest to acade mic and practice-based researchers in art, theatre, performance, ethnograph y, geography, archaeology, history, politics, philosophy and literature.

Journée on and off-line organisée dans le cadre du projet RePiT (Labex Les Passés dans le Présent) par Baptiste Buob (Lesc), Nathalie Cau (HAR), C arl Lavery (Glasgow University, Ecology, Environment and Heritage Hub) et C hristophe Triau (HAR).

[Salle L205, bâtiment Ricœur, Nanterre / Lien de l'appel vidéo : https://meet.google.com/adz-crgx-ibn]

Progr amme

9h30     Accueil café

10h00   ; Carl Lavery : « Reenacting Landscapes »

10h30   Lee Hassall : « Reenactment : Transmatic Reanimation »

11h15   Clare Finburgh-Delijani : « Spectral Sea scapes : performer les fantômes postcoloniaux en France »

1 1h45   Alexandre Koutchevsky : « Théâtre-paysage » , dialogue avec Christophe Triau

12h30 – 13h30 : pause déjeuner< /p>

13h30 – 15h : Workshop mené par Simon Whitehead

15h15  ;  Sophie Sleigh-Johnson : « Disorientation: Reach for the Ground »

15h45   Emmanuel de Vienne : «  Peindre et perdre la culture : l’œuvre d’Amatiwana Trumai »

16h30   Annette Becker : « Les paysages du Rwanda et l es reenactments des traumas du génocide des Tutsis »

17h00    Nathalie Cau : « “Dérober au néant noms et figures” : paysages de mémoire, essai filmé (tentative in progress) »

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Reenacting_Landscapes.jpgIn the bodiless non-places of accelerated capitalist life, in the anxiety of the Covid present, in th e toxic sites of the so-called Anthropocene, what does it mean today to get a taste for landscape? Why should one care, and how might the refined ‘pal ate’, implicit in conservative notion of taste, be reconfigured differently , opened up to democracy and dissensus? We approach these generic questions via a specific route: namely, by interrogating the performative potential – the theatricality, no less – of reenactment, a mode of artistic intervent ion that since Rebecca Schneider’s pioneering study Performing Remains: Art and War in Times of Theatrical Reenactment (2011) has been a common trope within theatre and performance studies as well as art history and visual cu lture in general. But perhaps now – for the reasons intimated above – it is time to rethink and reapply the idea of reenactment, to come terms, somewh at ironically, with its afterlives and possibilities.

In this study d ay we look to interrogate the relationship between reenactment and landscap e precisely because the very idea of landscape was always already bound up with repetition and re-doing: the attempt, that is, by landscape gardeners in the eighteenth century to transpose images from paintings into the very material of the landscape itself; to create aestheticised, tasteful ways of seeing and being. In this study day, landscape is no longer conceived as a primarily visual practice or disposition; rather, it is approached as verb , both active and passive, something that one does as a body, as a skin, a choreography, a performance, a type of theatre. Equally, taste is not a set of rules or protocols that one can apply or discover, as if in some manual ; it is a sensate experience, an open-ended, always corporeal event, someth ing that fills the perceiver with enthusiasm and affect. To get a taste for landscape, in other words, is to get a taste for life, which, in keeping w ith the uncanny, troubling logic of reenactment is also to pay attention to ghosts, spectres and phantoms, to make kin with the living dead – all thos e that refuse to depart the stage (mise-en-scène).

This study day wil l be of interest to academic and practice-based researchers in art, theatre , performance, ethnography, geography, archaeology, history, politics, phil osophy and literature.

Journée on and off-line organisée dans le cadr e du projet RePiT (Labex Les Passés dans le Présent) par Baptiste Buob (Les c), Nathalie Cau (HAR), Carl Lavery (Glasgow University, Ecology, Environme nt and Heritage Hub) et Christophe Triau (HAR).

[Salle L205, bâtiment Ricœur, Nanterre / Lien de l'appel vidéo : https://meet.google.com/adz- crgx-ibn]

Programme

9h30     Accueil ca fé

10h00   Carl Lavery : « Reenacting Landscapes  »

10h30   Lee Hassall : « Reenactment : Tran smatic Reanimation »

11h15   Clare Finburgh-Delijani :  « Spectral Seascapes : performer les fantômes postcoloniaux en France »

11h45   Alexandre Koutchevsky : «&nb sp;Théâtre-paysage », dialogue avec Christophe Triau

12h30 – 13h 30 : pause déjeuner

13h30 – 15h : Workshop mené par Simon W hitehead

15h15   Sophie Sleigh-Johnson : « D isorientation: Reach for the Ground »

15h45   Emmanuel de Vienne : « Peindre et perdre la culture : l’œuvre d’Amat iwana Trumai »

16h30   Annette Becker : « Le s paysages du Rwanda et les reenactments des traumas du génocide des Tutsis  »

17h00   Nathalie Cau : « “Dérober au néan t noms et figures” : paysages de mémoire, essai filmé (tentative in pr ogress) »

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