IMG_1023_edited_edited_edited.jpg
242705316_10157989341001470_7670012677931151522_n_edited_edited.jpg

Image credit: Doron Gallia-Kind

This reflective journal is an album that abstracts the events that happened within the Body in Performance module. Using the three lecturers who taught us as inspiration for the three tracks, and the writing of Peggy Phelan as a theological framework, I hope to convey what I learnt and also convey the conditions of the learning; the atmosphere, the environment, the feeling.

 

The Tsunami is derived from the teachings of Dr Pavlos Kountouriotis; His sessions were an overwhelming whirlwind of information and theories. I have used Phelan’s writing on representation and invisibility to reference the surface level knowledge I gained of Derrida and how I have chosen to make it invisible.

 

The Figure is derived from the teachings of Dr João da Silva. I have used Phelan’s writing on performative writing to contextualise the fragments of text born through the physical embodiment of his sessions. Descriptive words hung in the air of studio 18. I reflect on the shadow, the mystery, the figure.

 

The Chorus is derived from the teachings of Fenia Kotsopoulou. Fenia’s particular teaching style is brought to the forefront in this track, mixing upbeat jauntiness with slow, deep lyrics. The Chorus uses Phelan’s writings on identity as an entry point to understanding the teaching of Fenia.   

 

Welcome to Derridisco (It’s time to Derridance). You can scroll along the album sleeve using the arrows to follow the lyrics. 

 

Track list:

  1. The Tsunami  

  2. The Figure

  3. The Chorus

 

Bonus track:

   4. Keep the Electric Chain Alive (feat. Dannielle Gallia-Kind)

Image credit: Vicky Maier

press to zoom

Image credit: Vicky Maier

press to zoom

Image credit: Vicky Maier

press to zoom

Image credit: Vicky Maier

press to zoom
1/7

Bibliography:

 

Phelan, P. (1993). Unmarked: The politics of performance. London: Routledge. pp. 1-33.

 

Schechner, R. (2002). Performance studies: An introduction. London: Routledge. pp. 123-168.