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Thinking with William Forsythe's Duo
Series: TanzScripte, 60

Beautiful Affects in Choreography STEFAN HÖLSCHER “The philosophy of organism aspires to construct a critique of pure feeling, in the philo- sophical position in which Kant put his Critique of Pure Reason. This should also super- sede the remaining Critiques required in the Kantian philosophy. Thus in the organic phi- losophy Kant’s ‘Transcendental Aesthetic’ becomes a distorted fragment of what should have been his main topic.” (Whitehead 1987: 113) “The drusy, in awakening our interest in beauty, points us in the direction of a non- cognitive

Audible and Inaudible Choreography Atmospheres of Choreographic Design Johannes Birringer 1. he aring dance – heurSchpiel Protocol no. 1: as an obscure beginning – a reference to OuLiPo1 and Georges Perec’s radio play Die Maschine, imagined in French but first written in Ger- man with translator Eugen Helmlé, the broadcast released by Saarländischer Rundfunk in November 1968. Corresponding with the translator, Perec refers to the radio play as an Ohrspiel (ear play) or heurschpiel, in his wonderful homo- phonic spelling. The theme of my presentation is

Embryology as Choreography ISABELLE SCHAD When the body and its materiality becomes the work itself and the work itself becomes experience and process, the question of generation – and the question of looking into the future – become relative to the complex interdependencies be- tween the making of work and the mechanisms of production. Thus the perti- nence of re-inventing our practices and re-considering the finished by putting the emphasis on continuous learning processes may be disturbed or challenged. Thinking about the ‘Next Generation,’ the first

Dancing Politics: Worldmaking in Dance and Choreography GABRIELE KLEIN I. Dance is a world in itself – this is a central figure of discourse since the beginning of the 20th century, i.e. the period in which modern industrial society was established.1 As a world of the body and the senses, of movement and feelings, as a world of metaphors, for which words fail us, dance in the modern age, according to the modern dance discourse, constitutes an alternate world, namely a world beyond language and rationality. In the 20th century, dance, regardless of

Synchronous Objects, Choreographic Objects, and the Translation of Dancing Ideas NORAH ZUNIGA SHAW A broad range of new projects are happening today at the intersection of dance research and digital media and concerned with the re-articulation and trans- mission of bodily knowledge in contemporary dance practices. A few recent examples include The Forsythe Company’s Motion Bank project focusing on the work of Bruno Beltrão, Jonathan Burrows, and Deborah Hay; Wayne McGregor’s work with Scott deLahunta, Philip Barnard and others on choreography and

Risk Taking Bodies and Their Choreographies of Protest1 Cristina Rosa In her essay “Choreographies of Protest,” dance scholar Susan L. Foster proposes that we consider “the body as capable of both persuasion and obstinate recalci- trance,” demonstrating, as she puts it, “the central role that physicality plays in con- structing both individual agency and sociality.”2 To prove her point, in the article Foster examines three historical non-violent events in the United States. In these examples, she argues, agents take center stage and execute a set of planned

Resilient Bodies, Stirred. Political Anecdotes from the Field of Contemporary Choreography MARTIN NACHBAR Making and performing dance, I have never been too concerned about these dances being political. To me, there is something very pragmatic about making dances and about choreographing: the need to organize time, space and money to work; the desire to work with people that intrigue me; the question how to spent time with them in a way that will be somewhat productive in terms of making dances or choreographing; the urge to not let any sensation

Artistic Research as an Expanded Kind of Choreography Using the Example of Emio Greco|PC Marijke Hoogenboom The last five years have witnessed interesting developments in educa- tion policy in the Netherlands. Hopefully, the positive effect of these developments will not be limited to academies and art schools, but will also spread to affect artists and the arts in general. Alongside traditional teaching practice, a series of research groups (or lectorate as they are known in Dutch) are being funded. The express purpose of these groups is to expand and


Contents 8 Introduction “PINA”: Pioneer, icon, myth, brand · Pina Bausch and the Tanztheater Wuppertal: The dance productions · My research process · The praxeology of translation: A new approach to dance theory · Architecture of this book · Gratitude 20 Pieces 26 artistic phases · 26 1967-1973: Democratic awakening and aesthetic upheaval · 39 1973-1979: Development of a new concept for choreography and stage · 51 1980-1986: Internationalization and stabilization of aesthetic language · 61 1986-2000: Intercultural artistic production and the rediscovery