Expression and Bodily Faith in Natalie Heller’s First Impressions

Performance Philosophy 2 (1):115-129 (2016)
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Abstract

In this essay I place choreographer Natalie Heller in dialogue with Merleau-Ponty on issues of motor-perception, expression and bodily faith. I analyze her new work First Impressions to demonstrate how she responds to a similar impulse that drove Merleau-Ponty’s phenomenology, particularly in his last writing, The Visible and the Invisible. Both Heller and Merleau-Ponty seek to go beyond the representational understanding of motion and perception in order to articulate and experiment with a type of expression, which is beyond the distinctions between motion and motionlessness, activity and passivity, visibility and invisibility. While Merleau-Ponty writes about this form of expression, Heller’s performers show that beyond these binaries is a form of expression that is ambiguously situated between impressing and being impressed upon, and that to engage the world or the city as such, requires a motor-perceptual form of faith.

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Adam Loughnane
University College, Cork

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