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Martha Nussbaum: il disgusto, un\u27emozione politica
Get PDFMartha Nussbaum considers disgust a "political emotion" that is at the base of both negative value judgments and intolerance towards diversity. The purpose of this paper is to show the relation between Nussbaum\u27s analysis of disgust and her ethical-political theory. In particular, the paper aims at highlighting some essential elements of this theory: the role of the body in social dynamics, the reformulation of the concepts of human nature and dignity, the relation between perception and evaluation, the public role of imagination and art, the importance of moral psychology. 
Theatre’s Flesh, World’s Flesh
Get PDFAs soon as the light inside the theatre fades (usually very slow, almost stealthily, in order to avoid a brusque transition), a switch of codes of perception takes place. Not from reality to fiction, as if these were two separate worlds, but from one way of watching to another. Watching becomes the key in a strategy between showing and hiding, receiving and hiding back. The spectator is all but passive. All your mental and sensory faculties are focussed on digesting a flood of impressions in the course of a performance. It does not merely involve watching, but it concerns a receptivity that encompasses one’s whole physical being. How can we understand this ‘global’ perception ? What takes really place on a sensory level ? How does a spectator respond to a performance in a theatre landscape were new theatrical forms appeal to varied sorts of stimuli and sensations ? What can we learn from the field of embryology concerning our senses ? And how can we integrate the sensorial dimension into the envelop of the world ? What does it mean to be in the flesh of the theater at the heart of the world
Sound and Theatre
Get PDFSound perception plays an important role in the individuation process, both in the womb and as the sense most directly linked to the speech act. The presence of mechanized noise in urban environments has been criticized both by ecological modernists and adherents of information theory’s emphasis on clear signals and the elimination of noise. This essay rejects these forms of utopianism, as they do not address the quotidian reality of the individual dealing with human resource enforced employee efficiency. Instead a form of individuation enacted by the speech act in a group setting is embraced as an aesthetic form enhanced by the technological sublime, where the presence of noise is a catalyst for remapping quotidian behaviour.
Luoghi del cibo
Get PDFSince the second half of the XX Century, the attention to the food intended as a component of daily rituals increased within art practices, especially within performance art and the making of complex art installations. Food appears to be a central element for the design of spaces and objects, a practice that constantly dialogues with the cultural context, for which it advances also solutions and interpretations in virtue of its spatial and visual metaphors of the relationship between humans and food. This paper presents significant examples starting from the Modern era â in which, with the advent of the merchandise, the sense of loss within a new universe of objects, images and sounds emerges â and arriving at the crisis of this perspective in which a comparison with artistic practices becomes promising. 
Dissociation and Synesthesia: the Modalities of the Senses’ Presence in Theatre
Get PDFIn this article we propose an excursus of how spectators’ five senses are activated throughout different ages in representative or performative theater. We have opted to present our work divided into differing sections, each one corresponding to the sense which seemed to us to prevail. In this way we have noted that each theatrical performance proposes a sensory communication and a hierarchisation of the senses specific to it, in emphasizing dissociation, disjunction, alternation or synaesthesia.
 
Un cas particulier puissant : le théâtre et le sexuel
Get PDFSexual theatre does not only have the advantage of effectively putting on stage the five senses, both among actors and between actors and the audience, it also derives great power from it. Firstly, it attains the noble, however rarely met ambition of performing arts: to stir the most intense emotions among the audience. Secondly, it naturally triggers, without any artificial device or bad faith, the utopia of the 70s’ avant-garde: the participation of the audience. This mechanism conceals the ultimate, political power of sexual theatre. To the extent the phenomenon of performing representation is the mirror image of the phenomenon of political representation, sexual theatre, after having transformed the audience into actors, invites voters to stand up, and become political actors. Sexual theatre re-energises tired representative democracies
Sensiblement dansé vertigo « Variations sur le sensible » chorégraphiées par Marjana Krajač
Get PDFMarjana Krajač is currently one of the most remarkable Croatian choreographers; she explores in her work Variations on Sensitive (Varijacije o osjetnom, 2014) the meanings of sensible by activating a shared sensibility equally among the five dancers: by touching, watching, moving, and by their long performing exposability (lasting almost three hours) in front of the audience. Through the movement that is both powerful and fragile, insisting to go to the core of the dancing gesture, Marjana Krajač weaves complex networks of questions on the incursion of sensitive matter in the choreographic tissue as well as on the act of the dance performance itself. This essay on Variations on Sensitive choreographed by Marjana Krajač propose that the recent works of this artist could be called “posthybrid dance”. This is to highlight the choreographer’s decision to build this performance with dance itself, at the same time evidently aware of the historical and present-day dance creators who directly or indirectly interweave her artistic thought
Voir à fleur de peau : la violence de l’accommodation. À propos de la performance « Accommodation » de Hantu
Get PDFAccommodation by Hantu (Jean Delsaux and Pascale Weber) is a performance based on the Diderot essay Letter on the Blind for the Use of those who can see. Being founded on features of « accommodation » phenomena, my paper examines the transformation of the sensory perception produced on the performer Pascale Weber and the spectators by the dramatic and performative device, based on sense of impossibility or difficulty to see. Moreover, it analyses the image of the contemporary world in its search of an identity and the violent relationship with the “Other” to whom Accommodation refers
« Molly S. » , d’après « Molly Sweeney » de Brian Friel, ou « J’entends plus rien à gauche »
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Tra Venezia e l\u27Europa: gusto e disgusto nel teatro di Goldoni
Get PDFThe paper aims to investigate the idea of taste in the comedies of Carlo Goldoni. In 1750 Goldoni presents on the stage Il cavaliere di buon gusto, where good taste is characterized by measure and dignity in manners and conduct in everyday life this optimistic idea is changing and in 1762 with Una delle ultime sere di Carnevale, the way of life of the characters and their relationship to the society are problematic e melancholic. The good taste is now a new mixing of comic and pathetic, that Goldoni seeks to introduce in his theatrical works for the Comedie Italienne, during his stay in Paris.
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