Were we better in the future? The criticality of storytellinh in Kat Válastur's choreographic work

Detalhes bibliográficos
Autor(a) principal: Balona, Alexandra
Data de Publicação: 2020
Tipo de documento: Artigo
Idioma: por
Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
Texto Completo: https://doi.org/10.51427/cet.sdc.2020.0012
Resumo: This article explores the potentiality of storytelling as a choreographic tool in Kat Valástur's work The Marginal Sculptures of Newtopia (2014-2016). Storytelling, in the path of Benjamin and Haraway, can be explored in deconstructing established linear meanings and narratives and ultimately in questioning political concepts anchored in the substratum of Western critical theory, which in turn condition discursive practices and knowledge production. Wandering in fictional historical and geographical timelines, choreographer Válastur proposes dystopian futures tangential to science fiction and "speculative fabulation" (Haraway, 2017) in the three choreographic worlds that constitute her trilogy The Marginal Sculptures of Newtopia. As a choreographic instrument, how does this contamination of storytelling translate into the discursiveness of gesture and movement? What is the choreographic potentiality in the destabilization of linear temporality that subverts material historical conditions, of the fictional coexistence of parallel realities and dimensions, and of the imagination of possible physicalities for dystopian futures?
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spelling Were we better in the future? The criticality of storytellinh in Kat Válastur's choreographic workTeríamos sido melhores no futuro? A criticidade de contar histórias no trabalho coreográfico de Kat VálasturChoreographyStorytellingWalter BenjaminDonna HarawayKat VálasturCoreografiaNarraçãoWalter BenjaminDonna HarawayKat VálasturThis article explores the potentiality of storytelling as a choreographic tool in Kat Valástur's work The Marginal Sculptures of Newtopia (2014-2016). Storytelling, in the path of Benjamin and Haraway, can be explored in deconstructing established linear meanings and narratives and ultimately in questioning political concepts anchored in the substratum of Western critical theory, which in turn condition discursive practices and knowledge production. Wandering in fictional historical and geographical timelines, choreographer Válastur proposes dystopian futures tangential to science fiction and "speculative fabulation" (Haraway, 2017) in the three choreographic worlds that constitute her trilogy The Marginal Sculptures of Newtopia. As a choreographic instrument, how does this contamination of storytelling translate into the discursiveness of gesture and movement? What is the choreographic potentiality in the destabilization of linear temporality that subverts material historical conditions, of the fictional coexistence of parallel realities and dimensions, and of the imagination of possible physicalities for dystopian futures?Este artigo explora a potencialidade de storytelling como instrumento coreográfico na obra de Kat Valástur The Marginal Sculptures of Newtopia (2014‑2016). Storytelling, na senda de Benjamin e Haraway, pode ser explorado na desconstrução de sentidos e narrativas lineares estabelecidas e, em última instância, no questionamento de conceitos políticos ancorados no substrato da teoria crítica ocidental, que, por sua vez, condicionam práticas discursivas e de produção de conhecimento. Errante em timelines históricas e geográficas fictícias, a coreógrafa Válastur propõe futuros distópicos tangentes à ficção científica e «fabulação especulativa» (Haraway, 2017) nos três mundos coreográficos que constituem a sua trilogia The Marginal Sculptures of Newtopia. Enquanto instrumento coreográfico, como se traduz esta contaminação de storytelling na discursividade do gesto e do movimento? Qual a potencialidade coreográfica na desestabilização da temporalidade linear que subverte as condições históricas materiais, da coexistência ficcional de realidades e dimensões paralelas, e da imaginação de possíveis fisicalidades para futuros distópicos?Centro de Estudos de Teatro da Faculdade de Letras da Universidade de Lisboa2020-01-06info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/articleapplication/pdfhttps://doi.org/10.51427/cet.sdc.2020.0012https://doi.org/10.51427/cet.sdc.2020.0012Sinais de Cena; 2nd series, nr. 4 (2020); 145-158Sinais de Cena; 2e série, n°4 (2020); 145-158Sinais de Cena; 2.ª série, n.º 4 (2020); 145-1582184-95521646-071510.51427/sdc.vi4reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAPporhttps://revistas.rcaap.pt/sdc/article/view/21938https://revistas.rcaap.pt/sdc/article/view/21938/18024Direitos de Autor (c) 2020 Alexandra Balonainfo:eu-repo/semantics/openAccessBalona, Alexandra2024-01-13T05:16:16Zoai:ojs.revistas.rcaap.pt:article/21938Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-19T15:38:00.246338Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse
dc.title.none.fl_str_mv Were we better in the future? The criticality of storytellinh in Kat Válastur's choreographic work
Teríamos sido melhores no futuro? A criticidade de contar histórias no trabalho coreográfico de Kat Válastur
title Were we better in the future? The criticality of storytellinh in Kat Válastur's choreographic work
spellingShingle Were we better in the future? The criticality of storytellinh in Kat Válastur's choreographic work
Balona, Alexandra
Choreography
Storytelling
Walter Benjamin
Donna Haraway
Kat Válastur
Coreografia
Narração
Walter Benjamin
Donna Haraway
Kat Válastur
title_short Were we better in the future? The criticality of storytellinh in Kat Válastur's choreographic work
title_full Were we better in the future? The criticality of storytellinh in Kat Válastur's choreographic work
title_fullStr Were we better in the future? The criticality of storytellinh in Kat Válastur's choreographic work
title_full_unstemmed Were we better in the future? The criticality of storytellinh in Kat Válastur's choreographic work
title_sort Were we better in the future? The criticality of storytellinh in Kat Válastur's choreographic work
author Balona, Alexandra
author_facet Balona, Alexandra
author_role author
dc.contributor.author.fl_str_mv Balona, Alexandra
dc.subject.por.fl_str_mv Choreography
Storytelling
Walter Benjamin
Donna Haraway
Kat Válastur
Coreografia
Narração
Walter Benjamin
Donna Haraway
Kat Válastur
topic Choreography
Storytelling
Walter Benjamin
Donna Haraway
Kat Válastur
Coreografia
Narração
Walter Benjamin
Donna Haraway
Kat Válastur
description This article explores the potentiality of storytelling as a choreographic tool in Kat Valástur's work The Marginal Sculptures of Newtopia (2014-2016). Storytelling, in the path of Benjamin and Haraway, can be explored in deconstructing established linear meanings and narratives and ultimately in questioning political concepts anchored in the substratum of Western critical theory, which in turn condition discursive practices and knowledge production. Wandering in fictional historical and geographical timelines, choreographer Válastur proposes dystopian futures tangential to science fiction and "speculative fabulation" (Haraway, 2017) in the three choreographic worlds that constitute her trilogy The Marginal Sculptures of Newtopia. As a choreographic instrument, how does this contamination of storytelling translate into the discursiveness of gesture and movement? What is the choreographic potentiality in the destabilization of linear temporality that subverts material historical conditions, of the fictional coexistence of parallel realities and dimensions, and of the imagination of possible physicalities for dystopian futures?
publishDate 2020
dc.date.none.fl_str_mv 2020-01-06
dc.type.status.fl_str_mv info:eu-repo/semantics/publishedVersion
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
format article
status_str publishedVersion
dc.identifier.uri.fl_str_mv https://doi.org/10.51427/cet.sdc.2020.0012
https://doi.org/10.51427/cet.sdc.2020.0012
url https://doi.org/10.51427/cet.sdc.2020.0012
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://revistas.rcaap.pt/sdc/article/view/21938
https://revistas.rcaap.pt/sdc/article/view/21938/18024
dc.rights.driver.fl_str_mv Direitos de Autor (c) 2020 Alexandra Balona
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Direitos de Autor (c) 2020 Alexandra Balona
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv Centro de Estudos de Teatro da Faculdade de Letras da Universidade de Lisboa
publisher.none.fl_str_mv Centro de Estudos de Teatro da Faculdade de Letras da Universidade de Lisboa
dc.source.none.fl_str_mv Sinais de Cena; 2nd series, nr. 4 (2020); 145-158
Sinais de Cena; 2e série, n°4 (2020); 145-158
Sinais de Cena; 2.ª série, n.º 4 (2020); 145-158
2184-9552
1646-0715
10.51427/sdc.vi4
reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
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instacron:RCAAP
instname_str Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação
instacron_str RCAAP
institution RCAAP
reponame_str Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
collection Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
repository.name.fl_str_mv Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação
repository.mail.fl_str_mv
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