Abstract
Abstract This article articulates the equation between subjectivity and time through performance. It discusses ways in which choreographic strategies of stillness and slowness have the capacity to interrupt the distribution of the senses and thus affect the production of subjectivity. In doing so I consider a series of solo performances titled Pressure Points (2010–2012). In this work, the act of crawling backwards in slowness, coupled with stillness and close proximity, aimed to shift the perceptibility of movement from kinetic to kinesthetic registers. The argument is positioned in relation to Erin Manning’s notion of ‘incipient action’ and Jacques Rancière’s ‘Distribution of the sensible’. These frameworks are expanded upon by being placed in the context of the turn to conceptual choreography of the early 1990s.
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