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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.
Frontmatter 1
Contents 7
Preface: Choreography as Social Practice 11
01.01 The Staging Process - An Object of Research? 15
01.02 The Black Box of the Theatre and the White Cube of the Museum 18
01.03 The Common Working Scheme: The Rosas Dance Company 21
01.04 On Dance History: Freedom? in Choreographic Design 22
01.05 Selecting the Staging Processes 25
01.06 Staging Processes in Dance and Performance: A Historical Outline 31
01.07 Collaborative Formats as Seducers 37
02.01 Production-Aesthetic Perspectives in Dance and Theatre Studies 41
02.02 Performances, Staging Processes and Social (Inter)actions 58
02.03 Individuum: The Other Side of the Singular Plural 70
03.01 The First Perspective: Theatre Studies and Art History 91
03.02 The Second Perspective: Choreography as 1, 2, 3...Singular Plurals 92
03.03 The Third Perspective: Against the Backdrop of Real Life 96
03.04 Co-Sense - A Basis of Alternative Authorship? 100
04.01 Defining the Core (of the) Team 103
04.02 Divisional Writing and Collective Creativity 104
04.03 Participation: Evolving Along a Greyscale 105
04.04 The Tripartition Method 106
04.05 Degrees in Participation and the Question of "Power" 114
04.06 A Sense of One's Place 117
04.07 Bourdieu's Theory of Capital in Relation to My Study 118
04.08 The Social Space Model 132
04.09 Different Types of Capital...and Their Interpretation 135
04.10 Escaping Determinism 138
05.01 Research Scope: La communauté desoeuvrée 141
05.02 Counteracting the Traditional Narrative: The CVs of the Participants 144
05.03 Conception Phase: A Starting Point Is Not a Starting Point 153
05.04 Rehearsal Phase 154
05.05 Reformulation and the Notion of "sens de circulation" 180
05.06 Social Space: Frictions and Antagonisms 185
05.07 Evaluating the Working Scheme and Social Space Diagrams 186
05.08 Social Networks: A Further Perspective 193
05.09 Micro-Habitus 196
05.10 Media Phase: Internal Discourse 199
05.11 Media Phase: Reportable Portraits from an Outside Perspective 206
05.12 Between Co-Sense (Mit-Sinn) and the Singular 209
05.13 Authorship and Symbolic Capital 211
06.01 Reversing the Narrative 215
06.02 Depicting the Social Space of Collect-if by Collect-if 229
06.03 Conception Phase, Without Concept 235
06.04 Between All Chairs: Audition 237
06.05 Rehearsal Phase: The Starting Point and Its Difficulties 241
06.06 No Goal? 257
06.07 Social Space Diagram and Workers' Self-Organisation 260
06.08 Media Phase: The Necessities of Retrievability 265
06.09 A "Remainder" That Cannot Be Fully Grasped... 271
07.01 Undoing Authorship(s) 275
07.02 Un/Presentable(s) - Non-Human Participants 283
07.03 Conception Phase: A Singular Being a Plural 300
07.04 Rehearsal Phase: The Sequences Selected 304
07.05 Media Phase: Questions of Authorship(s) 338
08.01 Three Guiding Research Perspectives 349
08.02 A Priori Questions 349
08.03 First Perspective - - - A Historical Outline 352
08.04 Second Perspective: An Ontological Reading 356
08.05 Third Perspective: Sociological Enquiry 358
08.06 Co-Sense: A Basis for a New Concept of Alternative Authorship? 365
08.07 Conclusion and Outlook 369
09.00 Bibliography 371
10.00 Table of Illustrations 383