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first of all referring to the broad range of discourses covering the history and presentation of dance and choreography and which are, in fact, inseparable from their creation: discourses, such as those expressed in concept papers, written project applications, program notes, reviews as well as essays and historical analyses. In addition, I will also ignore the highly varied ‘forms of dance notation’ with their intricate intertwining of Schrift and movement and their historic transformations. And finally, this is also not the pla- ce to examine ‘dance’ and

Vorwort 2015 – im selben Jahr, in dem sich die Forsythe Company auflöste, stellte William Forsythe einzelne seiner Choreographic Objects im Museum für Mo- derne Kunst in Frankfurt am Main im Rahmen der von ihm kuratierten Aus- stellung »The Fact of Matter« zusammen mit Werken aus der Sammlung aus.1 In der Konstellation von Arbeiten der Bildenden Kunst mit den installativen Ansätzen der Choreographic Objects entfaltete sich ein spezifisches Zusammen- spiel von unterschiedlichen Akteuren: Betrachter*innen, die zu Teilnehmenden wurden, die durch einzelne der

the techniques of archiving by reflecting upon their own processes. Personal stories and memories as well as their very own (aesthetic) experience of body and space were explored through movement and dance. Memories were translated into movements, movements were analysed, improvisation techniques were attempted and choreographies were developed during workshops with Tanztheater Wuppertal dancers. After every session, the students were encouraged to reflect on their experiences and document the events of the project in large notebooks (Kladden). The results

extensively. Besides he continues to dance for other companies, including Odile Duboc, Fanny de Chaillé, Pierre Alféri and Meg Stuart. Julia Cima studied jazz, classical and contemporary dance in Cergy- Pontoise and Paris. Since 1995, she has worked continuously with Boris Charmatz. Cima has also danced in choreographies by Myriam Gourfink, Alain Michard, Laure Bonicel and Elisabeth Schwartz. She has partici- pated in various education and improvisation projects and collaborations with visual artists. In 2005, she created her solo Visitations. Bojana Cvejic is a

, Boundaries The following reflections are part of a broader research project on the body’s capac- ity for action that I have been developing out of my practice as a dramaturge work- ing mainly in the field of dance and choreography, and in close, process-oriented dialogue with other artists and thinkers.11 They are based on an understanding of choreography as a practice and a concept dealing with structuring and organizing movement in time and space and as a tool of analyzing and creating artistic as well as societal and political participation and intervention. Deep

), Theater ohne Flucht- punkt. Das Erbe Adolphe Appias: Szenographie und Choreographie im zeitge- nössischen Theater (Theater without Vanishing Points. The Legacy of Adolphe 258 | EMERGING BODIES Appia: Scenography and Choreography in Contemporary Theater) (2010, ed. with B. Wiens). See: http://www.geisteswissenschaften.fu-berlin.de DIERS, MICHAEL Professor for Art History at the University of Fine Arts Hamburg and Extraordi- nary Professor for Art History at the Humboldt University of Berlin. Main areas of research: renaissance art, modern art, 20th century and

267 Literatur Adolphe, Jean-Marc: Die Dramaturgie der Bewegung. Ballett International. Tanz aktuell 6/98, Berlin 1998, 26–27. Anderson Sofras, Pamela: Dance composition basics. Capturing the choreographer’s craft, Champaign 2006. Allsopp, Ric / Lepecki, André (Hg.): On Choreography. Performance Research. A journal of the Performing Arts 13 (1), London 2008. Arbeau, Thoinot: Orchésographie (1588), Hildesheim 1989. Barthel, Gitta / Artus, Hans-Gerd: Vom Tanz zur Choreographie. Gestaltungsprozesse in der Tanzpädagogik, Oberhausen 2007. Bel, Jérôme: An

267 Literatur Adolphe, Jean-Marc: Die Dramaturgie der Bewegung. Ballett International. Tanz aktuell 6/98, Berlin 1998, 26–27. Anderson Sofras, Pamela: Dance composition basics. Capturing the choreographer’s craft, Champaign 2006. Allsopp, Ric / Lepecki, André (Hg.): On Choreography. Performance Research. A journal of the Performing Arts 13 (1), London 2008. Arbeau, Thoinot: Orchésographie (1588), Hildesheim 1989. Barthel, Gitta / Artus, Hans-Gerd: Vom Tanz zur Choreographie. Gestaltungsprozesse in der Tanzpädagogik, Oberhausen 2007. Bel, Jérôme: An

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. . . . . . . . 37 Bojana Cvejic Trickstering, Hallucinating and Exhausting Production. The Blackmarket for Useful Knowledge and Non-Knowledge . . . . . . . 49 A metalogue between Peter Stamer What is an Artistic Laboratory? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 Artistic Research Henk Borgdorff The Mode of Knowledge Production in Artistic Research . . . . . . . . . . 73 Marijke Hoogenboom Artistic Research as an Expanded Kind of Choreography Using the Example of Emio Greco

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, Produktion: Mutoscope und Biograph (1903), Abb. 2: Filmstill aus Entr’acte, Regie: René Clair (1924), Abb. 3: Filmstill aus The Red Shoes, Regie: Michael Powell/ Emeric Pressburger (1948), Abb. 4: Filmstill aus 42nd Street, Regie: Lloyd Bacon (1933), Abb. 5: Filmstill aus Dance, Choreographie: Lucinda Childs, Film: Sol LeWitt (1979/2009), Abb. 6: Filmstill aus A Study in Choreography for the Camera, Choreographie und Regie: Maya Deren (1945), Abb. 7: Filmstill aus Ghostcatching, Choreographie: Bill T. Jones (1999), Abb. 8: Filmstill aus Afasia, Performance: Marcel