Performance Practice: Between Self-Production and Transindividuality

Vujanović, Ana; Klein, Gabriele; Göbel, Hanna Katharina

doi:10.14361/9783839432877-013

Cited by 3 publications

(2 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Choreographers such as William Forsythe and Merce Cunningham invented new operational techniques and promoted their institutionalization. "Somatic practices" such as Body Mind Centering, Alexander Technique, and others dominated for the last decades the field of operational work in dance, giving ground to the development of techniques that are performed individually and taught and sustained in daily routines, workshops, and training sessions (Schuh 2019;Vujanovic 2017;Hölscher 2020). Focusing on pragmatic and operational settings, with the workshop as one of its most prominent formats, their politics can neither be called critical nor affirmative per se towards logistical capitalism.…”

Section: Operational Collectivitiesmentioning

confidence: 99%

Operational Choreography

Egert

2022

Performance Philosophy

View full text Add to dashboard Cite

The paper adresses dance in regard to logistical capitalism and its operational politics. Operational politics denotes the control of processes from their inside, regulated and modulated by their very own logic. Instead of subsuming processes to external regulators such as pregiven scripts, goals or acting and moving subjects, operational politics is based on the logic of process itself and its regulation via immanent techniques. In regard to movement, operational politics started to gain hold in the field of logistics in the 1960s. Over the last decades, these operational choreographies proliferated into all realms of society, creating a logistical regime that comprises modes of thinking as much as modes of existence and action. It governs the movements of economic production as much as the way we perceive, live and move. Dance – seen as a practice in which new modes of thinking, moving and acting as well as new forms of subjectivity are explored in a physical manner – became an integral part of this logistical regime: In dance, the logic of operations is exercised beyond the realm of business organization. The study of operational choreography in dance as it is proposed in the paper is therefore twofold: On the one hand, it offers an analysis of the modes of logistical power at work in performances. On the other hand, it reveals how performances investigate the logistical regime itself and its operational politics on a bodily level.

show abstract

Section: Operational Collectivitiesmentioning

confidence: 99%

Operational Choreography

Egert

2022

Performance Philosophy

View full text Add to dashboard Cite

show abstract

“…Even though practice might influence the development of a piece and is fed into by various processes of production and continuous training, most performance artists understand practice as something which exists independently of the institutionalized obligations created by the production and training system. Thus, practice has its own temporality, outside of external production cycles (see Parkinson 2008;Ramadan 2014;Hardt 2016;Vujanović2017;Söderhult and Vujanović2018). It is this understanding of practice-as personal performance practice-that is the subject of this article.…”

mentioning

confidence: 99%

Having a Personal (Performance) Practice: Dance Artists' Everyday Work, Support, and Form

Schuh¹

2019

Dance Res. J.

View full text Add to dashboard Cite

Personal Performance Practice (PPP) refers to a regular activity—differentiated from training and production—popular among contemporary dance artists. Against the backdrop of contemporary neoliberal working conditions, this article analyzes PPP by applying the ambivalent notion of “support” in order to show how PPP makes the daily work of dance visible, encouraging a discussion on the sustaining systems of dance. Framing this argument is the notion that in the long run, practice brings about shifts in style and in the aesthetics of dancing. The article thus calls for an acknowledgment of dance artists’ everyday work.

show abstract

Doggy Paddling: Temporalities of Work in Higher Artistic Education in Denmark

Schmidt

2020

Scandinavian Journal of Educational Research

View full text Add to dashboard Cite

Performance Practice: Between Self-Production and Transindividuality

Cited by 3 publications

References 0 publications

Operational Choreography

Operational Choreography

Having a Personal (Performance) Practice: Dance Artists' Everyday Work, Support, and Form

Doggy Paddling: Temporalities of Work in Higher Artistic Education in Denmark

Contact Info

Product

Resources

About