{"id":5282,"date":"2012-12-24T14:51:01","date_gmt":"2012-12-24T14:51:01","guid":{"rendered":"https:\/\/old.mercatflors.cat\/?page_id=5282"},"modified":"2019-06-18T09:38:04","modified_gmt":"2019-06-18T08:38:04","slug":"cos-de-lletra","status":"publish","type":"page","link":"https:\/\/old.mercatflors.cat\/en\/thought-archive-and-editions\/cos-de-lletra\/","title":{"rendered":"Cos de lletra"},"content":{"rendered":"<p>Cos de Lletra is a collection about dance and dance theory published by Mercat de les Flors in partnership with Institut del Teatre.<\/p>\n<p>Versions in Catalan, Spanish and Galician<\/p>\n<p><a href=\"http:\/\/www.edicionespoligrafa.com\/es\/catalog\/historia-teoria-critica\/cuerpo-de-letra\" target=\"_blank\" rel=\"noopener\"><span style=\"text-decoration: underline; color: #0000ff;\">You can buy the books at Ediciones Pol\u00edgrafa website<\/span><\/a><\/p>\n<p>&nbsp;<\/p>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"alignleft size-full wp-image-4609\" title=\"1311590060portada_exhaurir_la_dansa\" src=\"https:\/\/old.mercatflors.cat\/wp-content\/uploads\/2012\/07\/1311590060portada_exhaurir_la_dansa.jpg\" alt=\"\" width=\"350\" height=\"200\" \/><\/p>\n<h2>[CdL#1]. EXHAURIR LA DANSA<\/h2>\n<p><strong>Exhaurir la dansa. Performance i pol\u00edtica del moviment <\/strong>(2009). <em>Andr\u00e9 Lepecki<br \/>\n<\/em>A review of the different ways of thinking about dance, with the argument in favour of a renewed commitment to the conjunction of experimental teaching, practice and philosophy.<\/p>\n<hr \/>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"alignleft size-full wp-image-4610\" title=\"1311589704portada_arquitectures_mirada\" src=\"https:\/\/old.mercatflors.cat\/wp-content\/uploads\/2012\/07\/1311589704portada_arquitectures_mirada.jpg\" alt=\"\" width=\"350\" height=\"200\" \/><\/p>\n<h2>[CdL#2]. ARQUITECTURES DE LA MIRADA<\/h2>\n<p><strong>Arquitectures de la mirada<\/strong> (2009). ISBN 978-84-613-4041-5 <em>Ana Buitrago<\/em> (ed.)<br \/>\nSeven essays on how artists and spectators are responsible for the architectures of the ephemeral.<\/p>\n<hr \/>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"alignleft size-full wp-image-4612\" title=\"1311590350portada_hacer_historia\" src=\"https:\/\/old.mercatflors.cat\/wp-content\/uploads\/2012\/07\/1311590350portada_hacer_historia.jpg\" alt=\"\" width=\"350\" height=\"200\" \/><\/p>\n<h2>[CdL#3]. HACER HISTORIA<\/h2>\n<p><strong>Hacer historia. Reflexiones desde la pr\u00e1ctica de la danza <\/strong>(2010). ISBN 978-84-614-2802-1<br \/>\n<em>Isabel de Naver\u00e1n<\/em> (ed.)<br \/>\nArtistic practice can generate new approaches that reconsider its role in the way history is made.<\/p>\n<hr \/>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"alignleft size-full wp-image-4613\" title=\"1334749513CdL4_A_contracuento_x_web\" src=\"https:\/\/old.mercatflors.cat\/wp-content\/uploads\/2012\/07\/1334749513CdL4_A_contracuento_x_web.jpg\" alt=\"\" width=\"350\" height=\"200\" \/><\/p>\n<h2>[CdL#4]. A CONTRACUENTO<\/h2>\n<p><strong>A contracuento. La danza y las derivas del narrar <\/strong>(2012)<br \/>\n<em>Roberto Fratini<\/em><\/p>\n<hr \/>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"alignleft size-full wp-image-4613\" title=\"1334749513CdL4_A_contracuento_x_web\" src=\"https:\/\/old.mercatflors.cat\/wp-content\/uploads\/2015\/05\/ejercicios-de-ocupacion.jpg\" alt=\"\" width=\"350\" height=\"200\" \/><\/p>\n<h2>[CdL#5].\u00a0EJERCICIOS DE OCUPACI\u00d3N<\/h2>\n<p><strong>Ejercicios de ocupaci\u00f3n. Afectos, vida y trabajo\u00a0<\/strong>(2015)<br \/>\n<em>Ixiar Rozas &amp;\u00a0Quim Pujol (eds.)<\/em><\/p>\n<hr \/>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"alignleft size-full wp-image-4613\" title=\"1334749513CdL4_A_contracuento_x_web\" src=\"https:\/\/old.mercatflors.cat\/wp-content\/uploads\/2016\/11\/componer-el-plural.jpg\" alt=\"\" width=\"350\" height=\"200\" \/><\/p>\n<h2>[CdL#6].\u00a0COMPONER EL PLURAL<\/h2>\n<p><strong>Escena, cuerpo y pol\u00edtica\u00a0<\/strong>(2016)<br \/>\n<em>Victoria P\u00e9rez Royo &amp; Diego Agull\u00f3 (eds.)<\/em><\/p>\n<hr \/>\n<p><img decoding=\"async\" loading=\"lazy\" class=\"alignleft size-full wp-image-4613\" title=\"1334749513CdL4_A_contracuento_x_web\" src=\"https:\/\/old.mercatflors.cat\/wp-content\/uploads\/2019\/01\/cos-de-lletra-7.jpg\" alt=\"\" width=\"350\" height=\"200\" \/><\/p>\n<h2>[CdL#7].\u00a0EL CUERPO INCALCULABLE<\/h2>\n<p><strong>William Forsythe, Gerald Siegmund y los diferenciales de la danza\u00a0<\/strong>(2018)<br \/>\n<em>Roberto Fratini Serafide, Magda Polo Pujadas (eds.)<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Cos de Lletra is a collection about dance and dance [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":41831,"menu_order":0,"comment_status":"open","ping_status":"open","template":"template-relacionats-externs.php","meta":[],"_links":{"self":[{"href":"https:\/\/old.mercatflors.cat\/en\/wp-json\/wp\/v2\/pages\/5282\/"}],"collection":[{"href":"https:\/\/old.mercatflors.cat\/en\/wp-json\/wp\/v2\/pages\/"}],"about":[{"href":"https:\/\/old.mercatflors.cat\/en\/wp-json\/wp\/v2\/types\/page\/"}],"author":[{"embeddable":true,"href":"https:\/\/old.mercatflors.cat\/en\/wp-json\/wp\/v2\/users\/1\/"}],"replies":[{"embeddable":true,"href":"https:\/\/old.mercatflors.cat\/en\/wp-json\/wp\/v2\/comments\/?post=5282"}],"version-history":[{"count":0,"href":"https:\/\/old.mercatflors.cat\/en\/wp-json\/wp\/v2\/pages\/5282\/revisions\/"}],"up":[{"embeddable":true,"href":"https:\/\/old.mercatflors.cat\/en\/wp-json\/wp\/v2\/pages\/41831\/"}],"wp:attachment":[{"href":"https:\/\/old.mercatflors.cat\/en\/wp-json\/wp\/v2\/media\/?parent=5282"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}