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The Creative Power in the Failure of Word and Language On Silence, Stuttering and other Performative Intensities

(2010) ARCADIA. 45(1). p.77-93
Author
Organization
Project
G.0.667.08.N.10 'Marqué par une image': onderzoek naar het statuut van het filmbeeld met betrekking tot herinneringsmechanismen en geheugenparadigma’s in een postdramatische esthetiek. Funding Program FWO Contract 22043.
Abstract
While a ‘good’ style, for Quintilian, is correct, lucid, elegant and balanced, Gilles Deleuze, in his essay He Stuttered, examined the style of a language in disequilibrium. These two concepts of style may be used to interpret Pieter De Buysser’s L’opéra bègue / Stotteropera (2004). The Flemish theatre-maker and playwright challenges the comfort of spectators, forces them to stutter in their interpretation and to dissolve closed identities. Jacques Rancière, who considered the contradictory history of rhetoric and the model of the ‘good orator’, has argued that politics revolves around what is seen and who has the ability to see and the talent to speak. The question is whether L’Opéra bègue / Stotteropera takes part in a certain recasting of the ether performances that leave the spectator stuttering can be termed ‘political performances’?
Keywords
theater, Pieter De Buysser, LOD, Opéra-bègue, Stotteropera, Gilles Deleuze, Jacques Rancière

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Citation

Please use this url to cite or link to this publication:

Chicago
Stalpaert, Christel. 2010. “The Creative Power in the Failure of Word and Language On Silence, Stuttering and Other Performative Intensities.” Arcadia 45 (1): 77–93.
APA
Stalpaert, C. (2010). The Creative Power in the Failure of Word and Language On Silence, Stuttering and other Performative Intensities. ARCADIA, 45(1), 77–93.
Vancouver
1.
Stalpaert C. The Creative Power in the Failure of Word and Language On Silence, Stuttering and other Performative Intensities. ARCADIA. BERLIN: WALTER DE GRUYTER & CO; 2010;45(1):77–93.
MLA
Stalpaert, Christel. “The Creative Power in the Failure of Word and Language On Silence, Stuttering and Other Performative Intensities.” ARCADIA 45.1 (2010): 77–93. Print.
@article{1080519,
  abstract     = {While a {\textquoteleft}good{\textquoteright} style, for Quintilian, is correct, lucid, elegant and balanced, Gilles Deleuze, in his essay He Stuttered, examined the style of a language in disequilibrium. These two concepts of style may be used to interpret Pieter De Buysser{\textquoteright}s L{\textquoteright}op{\'e}ra b{\`e}gue / Stotteropera  (2004). The Flemish theatre-maker and playwright challenges the comfort of spectators, forces them to stutter in their interpretation and to dissolve closed identities. Jacques Ranci{\`e}re, who considered the contradictory history of rhetoric and the model of the {\textquoteleft}good orator{\textquoteright}, has argued that politics revolves around what is seen and who has the ability to see and the talent to speak. The question is whether L{\textquoteright}Op{\'e}ra b{\`e}gue / Stotteropera takes part in a certain recasting of the ether performances that leave the spectator stuttering can be termed {\textquoteleft}political performances{\textquoteright}?},
  author       = {Stalpaert, Christel},
  issn         = {0003-7982},
  journal      = {ARCADIA},
  language     = {eng},
  number       = {1},
  pages        = {77--93},
  publisher    = {WALTER DE GRUYTER \& CO},
  title        = {The Creative Power in the Failure of Word and Language On Silence, Stuttering and other Performative Intensities},
  url          = {http://dx.doi.org/10.1515/ARCA.2010.005},
  volume       = {45},
  year         = {2010},
}

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