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Performance and Posthumanism
Recent technological and scientific developments have demonstrated a condition that has already long been upon us. We have entered a posthuman era, an assertion shared by an increasing number of thinkers such as N. Katherine Hayles, Rosi Braidotti, Donna Haraway, Bruno Latour, Richard Grusin, and Bernard Stiegler. The performing arts have reacted to these developments by increasingly opening up their traditionally human domain to non-human others. Both philosophy and performing arts thus question what it means to be human from a posthumanist point of view and how the agency of non-humans be they technology, objects, animals, or other forms of being works on both an ontological and performative level. The contributions in this volume brings together scholars, dramaturgs, and artists, uniting their reflections on the consequences of the posthuman condition for creative practices, spectatorship, and knowledge.
Ungoverning Dance
Ungoverning Dance examines recent contemporary dance in continental Europe. Placing this in the context of neoliberalism and austerity, it argues that dancers are developing an ethico-aesthetic approach that uses dance practices as sites of resistance against dominant ideologies. It attests to the persistence of alternative ways of thinking and living.
Considering Ethics in Dance, Theatre and Performance
This book asks important questions about making performance through the means of collaboration and co-created practice. It argues that we can align ethics and aesthetics with collaborative performance to realise the importance of being in association with one another, and being engaged through our shared imaginations. Evident in the examples of practice visited in this study is the attention given by a number of practitioners to the development of shared, co-operative modes of creation. Here, we can appreciate ethical work as being relational, forged in association with the others as we cultivate ideas that matter. In looking at a range of work from practitioners including Meg Stuart, Rosemary Lee, Deufert&Philschke and Fevered Sleep, Considering Ethics in Dance, Theatre and Performance explores ways that we rehearse by attending to ethics, aesthetics and co-creation. In learning to listen, to observe, to co-operate and to negotiate, these practitioners reveal the ways that they bring their work into existence through the transmission of shared meaning.
More-Than-Human Choreography
In the global context of the Great Acceleration, things and people have been on the move more than ever before. Moritz Frischkorn takes a fresh look at recent performing arts practices that deal with everyday objects on and beyond the stage. Contrasting these practices with the business field of logistics, he examines the aesthetic and ethical concerns of moving things. Drawing on concepts from performance as well as Black studies and philosophy, and based on an artistic-research methodology, the book formulates a notion of more-than-human choreography as an ecologically informed, infinitely indebted practice of living within the material world.
Singular Plural Ways of Staging Together
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.
Expanded Choreographies - Choreographic Histories
From objects to sounds, choreography is expanding beyond dance and human bodies in motion. This book offers one of the rare systematic investigations of expanded choreography as it develops in contemporaneity, and is the first to consider expanded choreography from a trans-historical perspective. Through case studies on different periods of European dance history - ranging from Renaissance dance to William Forsythe's choreographic objects and from Baroque court ballets to digital choreographies - it traces a journey of choreography as a practice transcending its sole association with dancing, moving, human bodies.
The Oxford Handbook of Contemporary Ballet
"Nearly four hundred and fifty years in, ballet still resonates-though the stages have become international, and the dancers, athletes far removed from noble amateurs. While vibrations from the form's beginnings clearly resound, much has transformed. Nowadays ballet dancers aspire to work across disciplines with choreographers who value a myriad of abilities. Dance theorists and historians make known possibilities and polemics in lieu of notating dances verbatim, and critics do the daily work of recording performance histories and interviewing artists. Ideas circulate, questions arise, and discussions about how to resist ballet's outmoded traditions take precedence. In the dance community, c...
Being in Contact: Encountering a Bare Body
This choreographed book is dedicated to the phenomenon of the bare body in contemporary performance. This work of artistic research draws on philosophical, biopolitical, and ethical discourses relevant to the appearance of bare bodies in choreography, setting a framework for a reflexive movement between affect and ethics, sensuous address and response. Acts of exposure and concealment are culturally situated and anchored, and are examined for their methodological and nanopolitical significance. The concepts of anarchic responsibility and choreo-ethics lead to a reevaluation of contact, relationship, and solidarity. Choreography is thus understood as a complex field of revelatory experiences based on ecologies of aesthetic perception and ethico-political agency.
Theories of Performance:
"Theories of Performance: Critical and Primary Sources offers a comprehensive collection of key writings on a subject which has come to permeate fields as diverse as theatre, comparative literature, philosophy, geography, history, English, science and technology studies, in what has been termed the transdisciplinary 'performative turn'. The collected essays draw upon writing from these diverse disciplines, together illustrating how performance has become an ever more vibrant and plastic discursive practice. It includes perspectives from regions and disciplines less well-represented in performance theory up to now, including from East Asia and the Middle East, as well as from material science...
Collaboration in Performance Practice
Collaboration between artists has been practised for centuries, yet over recent decades the act of collaborating has taken different meanings. This publication examines cultural, philosophical and political issues tied to specific instances of collaborative practice in the performing arts. Leading scholars and practitioners review historical developments of collaborative practice and reveal what it means to work together in creative contexts at the beginning of the twenty-first century. Key questions addressed include how artists are developing new ways of working together in response to contemporary economic trends, the significance of collaborating across culture and what opportunities are apparent when co-working between genres and disciplines. Noyale Colin and Stefanie Sachsenmaier present these perspectives in three thematic sections which interrogate the premises of collective intentions, the working strategies of current practitioners, as well as the role of failure and compromise in collaborative modes of creative work. This volume is an invaluable resource for scholars, practitioners and those interested in contemporary artistic methods of working.
