Please use this identifier to cite or link to this item:
http://hdl.handle.net/1942/49386Full metadata record
| DC Field | Value | Language |
|---|---|---|
| dc.contributor.author | SCHWARZ, Margaux | - |
| dc.date.accessioned | 2026-06-23T10:49:10Z | - |
| dc.date.available | 2026-06-23T10:49:10Z | - |
| dc.date.issued | 2024 | - |
| dc.date.submitted | 2026-06-07T16:19:14Z | - |
| dc.identifier.citation | Hatzigeorgiou, Pauline (Ed.). Vostok, SB34, p. 16 -28 | - |
| dc.identifier.isbn | 978-2-926-1-1 | - |
| dc.identifier.uri | http://hdl.handle.net/1942/49386 | - |
| dc.description.abstract | The script of the sound play "Civility" was developed in English the framework of the performance festival INDISCIPLINE, organized by WIELS at Grand Casino Knokke (BE) in March 2024. A French version was presented at the Centre Wallonie-Bruxelles in December 2024. Civility is an imageless play conceived as an inversion of theatrical syntax that dismantles the traditional dominance of sight within perception. Seated in velvet chairs, the audience becomes a body of sound voyeurs. What is usually concealed behind the curtain seeps through the audio field: overlapping voices as if the spectators were being wiretapped, a confrontation with an overzealous guard, the hum of an elevator, the pulse of club music. Interwoven with these voices, a narrator recounts a story into which the listener gradually enters. Adapted from La Découverte, a short story by Catherine Robbe-Grillet (from Cérémonie de Femmes), the narrative unfolds as if the scene were taking place before our eyes – or rather, through our ears, like a memory resurfacing in sound. By situating protagonists and spectators within the same perceptual field, Civility blurs the divide between stage and audience, or more precisely, between who performs and who perceives. | - |
| dc.description.sponsorship | SB34, CWB (Paris) | - |
| dc.language.iso | fr | - |
| dc.publisher | SB34 | - |
| dc.title | Civility | - |
| dc.type | Book Section | - |
| local.bibliographicCitation.authors | Hatzigeorgiou, Pauline | - |
| dc.identifier.epage | 28 | - |
| dc.identifier.spage | 16 | - |
| local.format.pages | 8 | - |
| local.bibliographicCitation.jcat | B2 | - |
| local.publisher.place | Brussels | - |
| local.type.refereed | Non-Refereed | - |
| local.type.specified | Book Section | - |
| dc.identifier.url | https://rile.space/books/vostok | - |
| dc.description.other | About the publication: The theme was built around the idiom “VOSTOK”, the title given by Stéphanie Pécourt to her cycle dedicated to performative semantics, in which carte-blanches signed by guest curators at the Centre Wallonie-Bruxelles are deployed. Buried beneath several kilometers of ice, Lake Vostok acts as an invitation that both fascinates and refuses us. This sub-glacial lake on the edge of Antarctica, the largest identified, becomes the mirror-object of our desires and fears for the abyssal depths. The title of the program, Now I am a Lake, is taken from Sylvia Plath's poem Mirror (1961). This booklet includes the scripts and texts of the performances, translated exclusively into French for the occasion, as well as images from the videos presented at the eponymous event. The compilation focuses on Sylvia Plath's poem Mirror, and includes an introductory text by curator Pauline Hatzigeorgiou. Contributions by Signe Frederiksen, Pauline Hatzigeorgiou, Margaux Schwarz, Hagar Tenenbaum, Sylvia Plath & Eleanor Ivory Weber | - |
| local.provider.type | - | |
| local.bibliographicCitation.btitle | Vostok | - |
| local.uhasselt.international | yes | - |
| local.uhasselt.initiatingorganisation | SB34, CWB Paris | - |
| item.fulltext | With Fulltext | - |
| item.contributor | SCHWARZ, Margaux | - |
| item.accessRights | Closed Access | - |
| item.fullcitation | SCHWARZ, Margaux (2024) Civility. In: Hatzigeorgiou, Pauline (Ed.). Vostok, SB34, p. 16 -28. | - |
| Appears in Collections: | Research publications | |
Items in DSpace are protected by copyright, with all rights reserved, unless otherwise indicated.