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entangled in practice (Feldman/Orlikowski 2011: 16).4 Agency is therefore under- stood as performative; echoing actor network theory notions about technologies as “choreographies of human and non-humans” (Pottage 2012: 167), and also STS scholar Andrew Pickering’s concept of “the dance of agency” (1995), where material and human agency temporally emerge through a ‘dance’ or ‘mangle’. This mangle is a process of resistance and accommodation: resistance denotes the failure to achieve an intended capture of agency in practice, while accom- modation refers to an active

The Collective That Isn’t One LIGNA in conversation with SANDRA NOETH SANDRA NOETH: In your performative audio play Der neue Mensch. Vier Übun- gen in utopischen Bewegungen (The New Human. Four Exercises in Utopian Movements)1, which was also presented during the Dance Congress 2009, you strongly focused on concepts of collectivity and the choral. The piece is a collec- tive choreography designed with the help of various traces of instructions and absent references, which the members of the audience experience and execute individually via headphones. How is

Re-Constructions: Figures of Thought and Figures of Dance: Nijinsky’s FAUNE1 Experiences with Dancing Competence Claudia Jeschke In dance, movement and the body are, on the one hand, functionalised into a medium themselves by means of choreographic procedures, and on the other, they interact with other media that are part of the produc- tion, such as the plot, the music, the stage design, the costumes and the conditions particular to each individual production. Beyond this, they are also reflected in documents, i.e. in written records and in technical

291 Susanne Foellmer Between Image and Volatility: Framing Motion in Dance and Film Soon after cinema was invented, film became occupied with the dance genre—and vice versa. The aesthetic, even paradigmatic changes in dance leading from ballet to modern and expressionist dance went along with new modes of creating and editing movement.1 While films like Fernand Léger’s Ballet Mécanique (1924) used rhythmi- cal, even choreographic principles instead of a narrative plot when editing the movie, dancer-choreographers like Valeska Gert adopted the strategies of

Relaying the Ar ts in Seventeenth-Centur y Italian Performance and Eighteenth-Centur y French Theor y Mark Franko »The language of action, of life representing itself« (Pasolini 2007: 41) In addressing the simultaneous and/or sequential use of voice (song), text (speech), and movement (dance) in early seventeenth-century Italian court performance, this paper establishes relays with earlier protocols of my re- search in Baroque dance. In »Dance as Text«, a propos of the geometrical dances in Le Balet comique de la royne (1581), I discussed how »choreographic

of transgression that is built into an otherwise prescribed system of dance techniques. Carving out the potential I see in Graham’s use of the and-count for undercutting the technique’s movement regimen, I propose a theory of the dancing body as a configuration of a Foucauldian hetero- topia, which offers itself as the site of a feminist-Deleuzian becoming. EXPERIENCING THE AND The Graham technique is a complex movement system with interrelated technical and aesthetic principles that originated in Martha Graham’s choreography. There is not room to do

parameters of gesture, energy, and critique. At times, as in 10000 Gestures, the gestural body almost bursts with referential associations; at other times, as in Men in the Cities, its prime purpose seems to be its ability to render energy’s mobilization of movement visible. Longo’s drawings seek to establish a moment of high impact, which he calls »that jerking into now« (2015: 7) within the onceness of the energetic pose. Charmatz multiplies such onceness in the refusal of repetition. His 10000 Gestures rejects recursive choreographic patterns by creating an

point for acquiring other stage and choreographic material, it seemed logical for Pina Bausch to alter her working methods as well. The occasion arrived in the late 1970s, when Peter Zadek invited her to develop an adaptation of Shakespeare’s Macbeth for his theatre in Bochum. At the time, she was in a state of double conflict. Despite international recognition, she continued to be in the crossfire between critics and audiences; opposition and doubts about the work also began to stir within her own ensemble. Pina Bausch cast her piece, which premiered in

For a Topology of Practices A Study on the Situation of Contemporary and Experimental Dance, Choreography and Per formance Ar t in Europe (1990–2013) Petra Sabisch ‘...we can learn to examine situations from the point of view of their possibilities.’ Isabelle Stengers: ‘The Care of the Possible’ (Erik Borde- leau in conversation with I. Stengers), Scapegoat 1 (2011), 12. IntroductIon Der Künstler-Report (The Artist Report) by Karla Fohrbeck and Andreas Johannes Wiesand, written in 1975, provides us with the first known comprehensive, method

dancers’ congress recognises the importance and necessity of a dance notation, and values the choreography created by Rudolf von Laban as a first-rate intellectual achievement and recommends it as a practical dance notation method«.3 Admittedly, this unanimous resolution, which amounted to a ›vic- tory‹ for Labanotation was surrounded by numerous controversies. They resulted from competing notation concepts, for example the G. I. Vischer- Klamt system, and to a greater extent from a fundamental controversy involving a group of dancers whose spokeswoman was Mary