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at © 2017 transcript Verlag, Bielefeld All rights reserved. No part of this book may be reprinted or reproduced or uti- lized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any infor- mation storage or retrieval system, without permission in writing from the publisher. Cover layout: Kordula Röckenhaus, Bielefeld Cover illustration: Scene from »La Création du monde 1923-2012«. Artistic direction, choreography Faustin Linyekula, produced by CCN-Ballet de


| 79 “But you know I don’t think in words.” Bilingualism and Issues of Translation between Signed and Spoken Languages: Working between Deaf and Hearing Cultures in Performance Kaite O’Reilly | 93 A New War on Borders Artistic Movements in Contested Spaces Sandra Noeth | 117 Institutions, Interventions, and Participartion An Artist/Activist Moving (Across) Borders Faustin Linyekula | 135 Indian Idealism The Disenfranchised Body in Yoga, Dance and Urbanity Navtej Johar | 151 Risk Taking Bodies and Their Choreographies of Protest Cristina Rosa | 169 The


Krämer | 81 Hellish Departure? The Departed, Infernal Affairs and Globalized Film Cultures Martin Lüthe | 97 INTER-MEDIAL REMAKING The Remake as Re-adaptation of an English Classic: Charles Dickens’s Oliver Twist on Film Till Kinzel | 115 Romeo and Juliet Re-danced: Choreographic Remakings of Shakespeare’s Tragedy Maria Marcsek-Fuchs | 131 | “Yes, Avatar is Dances with Wolves in space…sorta”: Repetitions and Shades of Difference in Two Blockbusters Sabine N. Meyer | 153 On the Ethics and Aesthetics of ‘Remaking’ in Web 2.0 Environments


Inhalt EINFÜHRUNG Einleitung Anja Dreschke, Ilham Huynh, Raphaela Knipp, David Sittler | 9 Über das -en- in Reenactment Matthias Meiler | 25 WIEDERAUFFÜHREN Colonial Erasure – Post-colonial Recovery: Identity/Alterity in Faustin Linyekula’s Choreographies Klaus-Peter Köpping | 43 Die Tänzer von Lac Courte Oreilles – eine historische Ethnologie indigener Mediengeschichte Cora Bender | 107 Von den Praktiken des Boxfilms zur Historiographie des Mediums: Das Reenactment des Sharkey-McCoy Kampfes Jan Henschen | 147 Gesten des Anachronismus

Abbildungen Abb. 1: Robert Ellis Dunn: The logic of improvisation, Quelle: Danielle Belec: Improvisation and Choreography. The Teachings of Robert Ellis Dunn, in: Contact Quarterly Winter/Spring, Northampton (1997), S. 65. Abb. 2: Improvisatorische Bewegung in Form einer Welle, Graphik: Friederike Lampert. S. 136. Abb. 3: Trisha Brown: Locus (1975), Foto: Babette Mangolte, Foto ent- nommen: Trisha Brown: Dance and Art in Dialogue, 1961 - 2001, Addison Gallery of American Art, Phillps Academy Essays, Massa- chusetts 2002, S. 149. Abb. 4: Steve Paxton und

« – or a set of core visual references – to stimulate the exchange of ideas and innovation in the discipline. In order for the art of dance to advance beyond its present state, Forsythe argues, an active 1 | »Iterative Design« is a well-known methodology utilized in the creation of interactive multi-media projects based on a cyclic process of prototyping, testing, analyzing and refining a work-in-progress. archive of vivid representations of the ideas and structures that make certain kinds of choreography work should be made accessible to students and

305 MA R K FR A N K O Bausch and The Symptom “Movements thus seem to be a form of thought, the only one, as it happens, that can designate the subject in the place where he loses himself.” Monique David-Ménard1 The scope of psychoanalytically informed writing on dance is, from the critical perspective, limited.2 The only dancer/choreographer to have become the object of serious psychoanalytic attention in the twentieth century was Vaslav Nijinsky. Yet, Nijinsky’s mental breakdown, not his choreography, was the primary object of

research as methodology, is an active, collec- tive choreographic approach suited for the Opening Doors dancers’ needs. This process focuses on the dancers’ uniqueness, strength and ability, al- lowing for the construction of a new body of knowledge about dance devis- ing, learning disabilities and the relationship between the two to emerge. 44 Ilona Baldacchino disabiLit y and arts conte x t in MaLta In order to understand the complexity of the disability context in relation to the arts, it is integral to understand the social, political and personal histories

: Österreichische Rundschau, hg. v. Al- fred Frhr. von Berger et al. 15. Jg., Heft 1, 1. April 1908, Wien: Dreimaskenverlag, 36-42. Wolf, Eric R. (1966): »Kinship, Friendship and Patron-client Relations in complex Soci- eties«. In: The Anthropology of Complex Societies (Association of Social Anthropologists Monograph 4), hg. v. Michael Banton, London: Tavistock Publications, 1-22. Zillinger, Martin (2010): »Passionate Choreographies Mediatized. On Camels, Lions, and their Domestication among the ‘Isāwa in Morocco«. In: Animism, Vol. I, hg. v. Anselm Franke, Antwerpen: Extra

85 The 1972 bacchanal for Richard Wagner’s Tannhäuser is one of two choreographies which Arno Wüstenhöfer, director of the Wuppertal theatres, commissioned from Pina Bausch. He wanted to see, “whether she could create forms on a large scale for a large space”. (Arno Wüstenhöfer quoted in Schlicher 1987: 108)1 A year earlier, Wüstenhöfer had commissioned aktionen für Tänzer (‘Actions for dancers’), featuring the Folkwang Ballett for the first time in Wuppertal. Pina Bausch already knew the bacchanal music from Act I, Scene 1 of Tannhäuser, set beneath the