Descrição
ABSTRACT – Images as Apparitions of the Body: Ilka Schönbein’s loving game – This Article presents aspects of Ilka Schönbein’s trajectory, a German puppeteer and dancer, in particular her game with the puppet and the singular way with which her images and her dance challenge the body. And it is these aspects that makes their images-bodies encounter the transgressive game and movements of Bataille’s and Georges Didi-Huberman’s eroticism. With them and Ilka, image and body are confused and, in this encounter, the image opens to the apparitions of the body: vital and funereal processes that jolt and disrupt the contours of correct human figures. Ilka Schönbein’s images draw our attention to other realities of the body. Her apparitions have a disquieting resemblance to human figures, poised between death, childbirth, and a fusion of bodies.||RÉSUMÉ – Les Images comme Apparition du Corps: le jeux amoureux d’Ilka Schönbein – Cet article s’interesse au travail d’Ilka Schönbein, marionnettiste et danseuse allemande, em particulier sur deux aspects: le jeu singulier avec la marionnette et les images três corporelles de sa danse. Pour cela, la recherce propose um étude critique et poétique des images d’Ilka en rapport avec des questions de l’erotisme de Bataille et Georges Didi-Huberman. Avec eux, l’erotisme presente un jeu entre les mouvements des images et certains processus sensibles du corps vivant. Entre marionnette et erotisme, je montrerai des questions que se fait autour de le processus des images et le corps comme un espace d'apparitions. Dans les images d’Ilka Schönbein est l’attention à d’autres réalités du corps qui sont vue à travers de l’accouchement, le jeu amoureux et la mort.||This Article presents aspects of Ilka Schönbein’s trajectory, a German puppeteer and dancer, in particular her game with the puppet and the singular way with which her images and her dance challenge the body. And it is these aspects that makes their images-bodies encounter the transgressive game and movements of Bataille’s and Georges Didi-Huberman’s eroticism. With them and Ilka, image and body are confused and, in this encounter, the image opens to the apparitions of the body: vital and funereal processes that jolt and disrupt the contours of correct human figures. Ilka Schönbein’s images draw our attention to other realities of the body. Her apparitions have a disquieting resemblance to human figures, poised between death, childbirth, and a fusion of bodies.
