Hostname: page-component-586b7cd67f-gb8f7 Total loading time: 0 Render date: 2024-11-27T19:48:09.619Z Has data issue: false hasContentIssue false

Cruel Optimism, Ironic Pessimism, Poetic Terrorism

How to Combat the Semiocapitalistic Pan(dem)ic in a Choreographed Song-Cycle

Published online by Cambridge University Press:  01 December 2021

Abstract

Meyoucycle (2016) was the eagerly awaited result of a collaboration between choreographer Eleanor Bauer and composer Chris Peck. The characters of this dance and song–cycle have developed tactics to withstand the exploitative demands of neoliberal semiocapitalism; the creative team deployed performative and dramaturgical tactics for the same purpose.

Type
Stanford Consortium Issue: Part I
Copyright
© The Author(s) 2021. Published by Cambridge University Press for Tisch School of the Arts/NYU

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

References

Bauer, Eleanor, and Peck, Chris. 2016a. Program booklet for Meyoucycle. Press packet.Google Scholar
Bauer, Eleanor, and Peck, Chris. 2016b. Meyoucycle. Unpublished lyrics, GoodMove.Google Scholar
Berardi, Franco. 2009a. Precarious Rhapsody: Semiocapitalism and the Pathologies of the Post-Alpha Generation. London: Minor Compositions.Google Scholar
Berardi, Franco. 2009b. The Soul at Work: From Alienation to Autonomy. Trans. Cadel, Francesca and Mecchia, Giuseppina. Los Angeles: Semiotext(e).Google Scholar
Berlant, Lauren. 2011. Cruel Optimism. Durham, NC: Duke University Press.Google Scholar
Bey, Hakim. 1985. TAZ: The Temporary Autonomous Zone, Ontological Anarchy, Poetic Terrorism. New York: Autonomedia.Google Scholar
Bröckling, Ulrich. 2016. The Entrepreneurial Self: Fabricating a New Type of Subject. Los Angeles: Sage.CrossRefGoogle Scholar
Certeau, Michel de. 1984. The Practice of Everyday Life. Trans. Rendall, Steven F.. Berkeley: University of California Press.Google Scholar
Cvetkovich, Ann. 2012. Depression: A Public Feeling. Durham, NC: Duke University Press.Google Scholar
Davenport, Thomas H., and Beck, John C.. 2001. The Attention Economy: Understanding the New Currency of Business. Boston, MA: Harvard Business School Press.Google Scholar
Fischer-Lichte, Erika. 2008. The Transformative Power of Performance: A New Aesthetics. Trans. Jain, Saskya Iris. London: Routledge.CrossRefGoogle Scholar
Grindon, Gavin. 2011. “The Notion of Irony in Cultural Activism.” In Cultural Activism: Practices, Dilemmas, and Possibilities, ed. Özden Fırat, Begüm and Kuryel, Aylin, 2134. Amsterdam: Rodopi.Google Scholar
Han, Byung-Chul. 2017. Psychopolitics: Neoliberalism and New Technologies of Power. Trans. Butler, Erik. London: Verso.CrossRefGoogle Scholar
Haraway, Donna J. 2016. Staying with the Trouble: Making Kin in the Chthulucene. Durham, NC: Duke University Press.Google Scholar
Kunst, Bojana. 2015. Artist at Work: Proximity of Art and Capitalism. Winchester, UK: Zero Books.Google Scholar
Lazzarato, Maurizio. 2010. “Conversation with Maurizio Lazzarato — Public Editing Session #3.” TkH Journal for Performing Arts Theory 17, 4–5:1216.Google Scholar
Laermans, Rudi. 2018. “‘Manic Depression Is Searching My Soul.’ On Neoliberalism’s Dominant Structure of Feeling.” In Free Gestures — Wolne Gesty, ed. Sickle, Ula, 91108. Warsaw: Ujazdowski Castle Centre for Contemporary Art.Google Scholar
Rosa, Hartmut. 2003. “Social Acceleration: Ethical and Political Consequences of a Desynchronized High-Speed Society.” Constellations: An International Journal of Critical and Democratic Theory 10, 1:333.CrossRefGoogle Scholar
Ridout, Nicholas, and Schneider, Rebecca. 2012. “Precarity and Performance.” Special Consortium Issue of TDR 56, 4 (T216).CrossRefGoogle Scholar
Ridout, Nicholas, and Schneider, Rebecca. 2012. “Precarity and Performance.” Special Consortium Issue of TDR 56, 4 (T216).CrossRefGoogle Scholar