Singular Plural Ways of Staging Together Perspectives on Contemporary Dance, Art Performance and Visual Art Iris Julian, Gerald Siegmund

Format:

Book

Author/Creator:

Julian, Iris <p>Iris Julian, Akademie der bildenden Künste Wien, Österreich</p>, Author.

Contributor:

Siegmund, Gerald <p>Gerald Siegmund, Justus-Liebig-Universität Gießen, Deutschland</p>, Author of introduction, etc.

Series:

TanzScripte Series

TanzScripte

Language:

English

Subjects (All):

Culture.

Dance.

Performance.

Rehearsal.

Artistic Collaboration.

Theatre.

Theatre Studies.

Theory of Art.

Local Subjects:

Culture.

Dance.

Performance.

Rehearsal.

Artistic Collaboration.

Theatre.

Theatre Studies.

Theory of Art.

Physical Description:

1 online resource (387 pages)

Edition:

1st ed.

Other Title:

Julian, Singular Plural Ways of Staging Perspectives on Contemporary Dance, Art Performance and Visual Art

Place of Publication:

Bielefeld transcript Verlag 2024

Biography/History:

Iris Julian (formerly Gütler), born in 1975, is a cultural scientist who holds a doctorate in philosophy at the Akademie der bildenden Künste Wien and was a member of the research group »Mediale Teilhabe« located at the Universität Konstanz, Leuphana Universität Lüneburg, Zürcher Hochschule der Künste and the Universität Hamburg. Her research scrutinises collaborative working processes in dance and performance.

Gerald Siegmund is Professor of Applied Theatre Studies at the Justus-Liebig University in Giessen, Germany. He studied Theatre, English and French literature at Goethe-University in Frankfurt am Main. From 2005 to 2008 he was assistant professor at the Institute of Theatre Studies in Berne, Switzerland. Among his research interests are theatre and memory, aesthetics, dance, performance and theatre since the beginning of the 20th century. He was head of the DFG-research group »Theatre as Dispositif« where he researched the theatrical dispositifs in Germany since the 1960s. Between 2012 and 2016 Gerald Siegmund was president of the German Association for Theatre Studies (GTW). His most recent publications are »Jérôme Bel. Dance, Theatre, and the Subject« (Palgrave Macmillan 2017) and together with Rebekah Kowal und Randy Martin »The Oxford Handbook of Dance and Politics« (Oxford University Press 2017).

Summary:

Focusing on staging processes in contemporary dance and art performance creates new opportunities to study creative participation and co-authorship. To gain these new insights, Iris Julian analyses experimental projects initiated by two groups and a single choreographer: Collect-if by Collect-if, Deufert + Plischke and Xavier Le Roy. By exploring nuances of staging work, the concept of singular plural became the analytical guideline and resulted into three research perspectives: theatre studies, sociology and ontological reading (Jean-Luc Nancy, Michaela Ott, Gerald Raunig). This approach makes it possible to look beyond the importance that is often credited to single authorship in the arts.With a foreword by Prof. Dr. Gerald Siegmund.

Contents:

Cover

Contents

Preface: Choreography as Social Practice

01.00 The Selected Works and Their Artistic Field

01.01 The Staging Process - An Object of Research?

01.02 The Black Box of the Theatre and the White Cube of the Museum

01.03 The Common Working Scheme: The Rosas Dance Company

01.04 On Dance History: Freedom? in Choreographic Design

01.05 Selecting the Staging Processes

01.06 Staging Processes in Dance and Performance: A Historical Outline

01.07 Collaborative Formats as Seducers

02.00 Towards a Production‐Aesthetic Approach

02.01 Production‐Aesthetic Perspectives in Dance and Theatre Studies

02.01.01 Through the Lens of Sociological Research: Pirkko Husemann

02.01.02 The Becoming Fluid of Working Schemes and Hierarchies: Rudi Laermans

02.01.03 When Being‐With Meets Theatre Studies: Martina Ruhsam

02.02 Performances, Staging Processes and Social (Inter)actions

02.02.01 Human Interactions and Authorship(s)

02.02.02 Divisional Lines in Discourses: Árchein and Prattein

02.03 Individuum: The Other Side of the Singular Plural

02.03.01 Dividuum, Dividuation and Being‐With

02.03.02 Terms and Their Meaning(s)

03.00 Research Questions: Three Perspectives

03.01 The First Perspective: Theatre Studies and Art History

03.02 The Second Perspective: Choreography as 1, 2, 3...Singular Plurals

03.03 The Third Perspective: Against the Backdrop of Real Life

03.04 Co‑Sense - A Basis of Alternative Authorship?

04.00 Methodology for a Sociological Perspective

04.01 Defining the Core (of the) Team

04.02 Divisional Writing and Collective Creativity

04.03 Participation: Evolving Along a Greyscale

04.04 The Tripartition Method

04.04.01 Stage Performance: The Fourth Phase of a Project?

04.04.02 Conception Phase: The Starting Point Reaching into Infinite Past.

04.04.03 Rehearsal Phase

04.04.04 Media Phase

04.05 Degrees in Participation and the Question of "Power"

04.06 A Sense of One's Place

04.07 Bourdieu's Theory of Capital in Relation to My Study

04.07.01 Cultural Capital and the "Sense of One's Place"

04.07.02 Social Capital

04.07.03 Social Capital in Qualitative Network Analysis (Qualitative Netzwerkanalyse)

04.07.04 Registering and Visualising Social Capital

04.07.05 Symbolic Capital

04.08 The Social Space Model

04.09 Different Types of Capital...and Their Interpretation

04.10 Escaping Determinism

05.00 "Reportable Portraits"

05.01 Research Scope: La communaute desœuvree

05.02 Counteracting the Traditional Narrative: The CVs of the Participants

05.02.01 Helena Golab

05.02.02 Hanna Sybille Müller

05.02.03 Benjamin Schoppmann

05.02.04 Sandra Noeth

05.02.05 Deufert + Plischke = Kattrin Deufert + Thomas Plischke

05.02.06 Deufert + Plischke = Thomas Plischke + Kattrin Deufert

05.03 Conception Phase: A Starting Point Is Not a Starting Point

05.04 Rehearsal Phase

05.04.01 First Step: Emerging from Point Zero

05.04.02 Second Step: Topographies

05.04.03 Intermezzo: A Synchronic View of Lehmen's Notation

05.04.04 Third Step: Expansion /Proliferation

05.04.05 Fourth Step: If‑Then Scenarios

05.04.06 Fifth Step: Movement Idea as a Field for the Unfolding of Possibilities

05.04.07 Intermezzo: Rehearsal Phase: Short Version

05.05 Reformulation and the Notion of "sens de circulation"

05.06 Social Space: Frictions and Antagonisms

05.07 Evaluating the Working Scheme and Social Space Diagrams

05.07.01 Evaluating Symbolic Capital in the Social Space Diagram

05.08 Social Networks: A Further Perspective

05.09 Micro‐Habitus

05.10 Media Phase: Internal Discourse.

05.11 Media Phase: Reportable Portraits from an Outside Perspective

05.12 Between Co‑Sense (Mit‐Sinn) and the Singular

05.13 Authorship and Symbolic Capital

06.00 "Collect‐if by Collect‐if"

06.01 Reversing the Narrative

06.01.01 Alix Eynaudi

06.01.02 Ugo Dehaes

06.01.03 Varinia Canto Vila

06.01.04 Rebecca Murgi

06.01.05 Katarina Stegnar

06.01.06 Janez Jansa (formerly Emil Hrvatin)

06.01.07 Bojana Cvejic

06.01.08 There Were Other Contributors: Borut Cajnko, Igor Delorenzo Omahen, Nejc Saje, Linda Suy, Miran Sustersic, Natasa Zavolovsek...

06.02 Depicting the Social Space of Collect‐if by Collect‐if

06.03 Conception Phase, Without Concept

06.04 Between All Chairs: Audition

06.05 Rehearsal Phase: The Starting Point and Its Difficulties

06.05.01 Proliferation

06.05.02 Three Recurring Ideas: Collective Suicide

06.05.03 Three Recurring Ideas: Reconstruction(s)

06.05.04 Three Recurring Ideas: Singular Plural Solos

06.06 No Goal?

06.07 Social Space Diagram and Workers' Self‐Organisation

06.08 Media Phase: The Necessities of Retrievability

06.09 A "Remainder" That Cannot Be Fully Grasped...

07.00 "Retrospective"

07.01 Undoing Authorship(s)

07.02 Un/Presentable(s) - Non‐Human Participants

07.02.01 Human Core Team

07.03 Conception Phase: A Singular Being a Plural

07.04 Rehearsal Phase: The Sequences Selected

07.04.01 Installative‐Choreographic Forms: The Dance Historical Perspective

07.04.02 Rehearsal Phase, First Week, Second Week: Time Brackets

07.04.03 A Rift in the Team: The Sociological Perspective

07.04.04 Immaterial Forms of Capital

07.04.05 Second Week of Work: Movement Figures in Space

07.05 Media Phase: Questions of Authorship(s)

07.05.01 Authorship Based on Co‑Sense (Mit‐Sinn)?.

07.05.02 Internal Discourse: Inside the Rétrospective Publication

07.05.03 Authorship Based on Vulnerability?

08.00 Synopsis

08.01 Three Guiding Research Perspectives

08.02 A Priori Questions

08.02.01 Whose Participation?

08.02.02 Results of Divisional Writing

08.02.03 Working Schemes

08.03 First Perspective - - - A Historical Outline

08.04 Second Perspective: An Ontological Reading

08.05 Third Perspective: Sociological Enquiry

08.05.01 Rules, Logics and the Concept of Swarm

08.06 Co‑Sense: A Basis for a New Concept of Alternative Authorship?

08.07 Conclusion and Outlook

09.00 Bibliography

10.00 Table of Illustrations.

ISBN:

3-8394-7247-4