This article draws on contemporary performance practice and the history of science (specifically neurology) to examine ways in which the performance of epilepsy and other movement disorders onstage links controversial art practices with a history of performance of medical authority. The article further argues for a turn towards "alterkinetic" aesthetics which favour movement over stillness, overturning the dominant paradigm in contemporary dance that turns away from balletic virtuosity. Instead, the "alterkinetic" aesthetic describes tics and falls, movement orders and disorders, hyperkinesis, and technical expertise in everyday movement as onstage.
|Number of pages||24|
|Publication status||Published - Mar 2012|