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Saturday March 16 | Session 10:30 - 12:15 (20 min) University Theatre Building | University Theatre

Jonas Schnor is a PhD student at The Centre for Performance Philosophy, University of Surrey. He has a background as an actor and playwright in his native Copenhagen. After and during studies in Philosophy, Performance- and Cultural Studies at University of Copenhagen, Freiburg University and Humboldt University of Berlin, he has worked as a dramaturge and performance philosopher with choreographers and theatre makers across Europe and in Brazil.His PhD-project seeks to understand and shape experimental dramaturgy as a practice of philosophy within contemporary performance: a way of co-creating artistic gestures of affirmative resistance and affective criticality.
How does the work of dramaturgy operate in dance and performance practice today? What does contemporary dramaturgy tell us about the relationship between performance and philosophy? And can dramaturgy be understood as a subtle philosophical practice along the lines of what Deleuze and Guattari were envisioning with their enigmatic concept of becoming-imperceptible?

In this paper I want to examine how the work of dramaturgy has changed considerably in the age of postdramatic theatre and experimental dance. By drawing on the conceptual and experiential frameworks of a wide range of influential dramaturge-scholars (Lepecki, Cjević, Protopapa a.o.), as well as my own experiences and reflections, I will argue that dramaturgy questions the distinction between making and thinking, between deconstructive discourse and creative
process, thus pointing towards an immanent praxis of conjoined aesthetic sensibility and critical awareness – what we could call a practice of performance philosophy.


In order to approach how such a practice might be conceived, I will draw on my current research into Deleuze and Guattari’s concept of becoming-imperceptible. In Mille Plateaux (1980) this concept was proposed as the ultimate form of deterritorialization: a mode of absolute affirmation that nonetheless subtly subverts and transforms any given relational field or process. Could this idea be interpreted as an aesthetic-philosophical practice that tends the conditions for any process to actualize its ‘eventful’ potentialities? If so, the concept might also contribute to an idea of imperceptible dramaturgy, a philosophical gesture that happens within or as performance. 
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