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): »Einleitung – Notationen und choreo- graphisches Denken«, in: dies. (Hg.), Notationen und choreographisches Denken, 7-26. Bräuninger, Renate (2014): »Documenting Choreographic Process: Anne Teresa De Keersmaeker in Print and DVD«, in: Dance Chronicle 37 (3), 377-383. Campe, Rüdiger (2012): »Die Schreibszene, Schreiben«, in: Sandro Zanetti (Hg.), Schreiben als Kulturtechnik. Grundlagentexte. Berlin: Suhrkamp, 269-282. Farnell, Brenda (1996): »Movement Notation Systems«, in: Peter T. Daniels/William Bright (Hg.), The World’s Writing Systems. New York/Oxford: Oxford University

, die Kleist in seinem Aufsatz fordert, eine streng choreographier- te Reihe von Permutationen, wobei sie stets die »danger zone« im Zentrum des Vierecks vermeiden (Beckett 1990: 453). Im Skript erinnert Becketts Diagramm für die Choreographie an Origami-Anleitungen, während die fertige Darbietung an das Kinderspiel »Himmel und Hölle« oder die Manöver eines antiken Rituals erinnert (Albright 2003: 137). What Where (1983), Becketts finales Stück, ist Ma- rionettentheater, allerdings mit echten Schauspielern auf der Bühne. Die maschi- nenhaften Äußerungen der

-38-32 --- Projekt: transcript.kumedi.reither / Dokument: FAX ID 01d026718985192|(S. 118-162) T03_02 kumedi.reither.kap_II.2.p 26718985200 COMPUTERPOESIE 2. Aug.-20. Okt.: Ausstellung Cybernetic Serendipity im Londoner Institute of Contemporary Art (I.C.A.), veranstaltet von Jasia Reichardt. Die Ausstellung ist in mehrere Sektionen unterteilt: »Computers and music«, »Computerprogrammed choreography«, »Computer poems and texts«, »Computer paintings«, »Computer films« und »Computer graphics«. Besucher der Ausstellung können mit dem von Alan Sutclife realisierten Programm SPASMO nach

Tanz in Hogarths ›Analysis of Beauty‹.« In: Deutsche Viertljahrsschrift für Literaturwissenschaft und Geistesgeschichte 79, 2. Heft (2005), S. 196-251. Mansouri, Rachid Jai: Die Darstellung der Frau in Schillers Dramen. Frankfurt a. M. 1988. (Europäische Hochschulschriften. Reihe 1. Deutsche Sprache und Literatur 1053) Martinez, J. D.: The swords of Shakespeare. An illustrated Guide to Stage Combat Choreography in the Plays of Shakespeare. Jeffer- son, North Carolina/London 1996. Mayer, Hans: Außenseiter. Frankfurt a. M. 1975. McCarthy, John A.: »Kopernikus

and an extratextual one (see Ette 2010a: 987- 8). On an intratextual level, literary texts present different events, narrators, and characters who often possess, articulate or represent (explicitly or implicitly) par- ticular forms of life, ways of living and thus different kinds of life knowledge. The challenge, as Ette explicates, is “to understand the dynamic modeling of characters as complex choreographies of individuals who possess different kinds of life knowledge” (ibid.: 988). Thinking of literary characters as choreographies of life knowledge, the

, however, “the simple act of gathering” at the theatre 118 Home/Fronts is crucial to create a public yet safe space for alternative representations (Editor’s 2). Colleran observes that live performance competes with the “spectacle” of media representation and its deceptive “sense of immediacy”; before theatre can achieve its own “political effect,” it must prevail against media images present in the minds of audiences (15, 20). The plays, however, do not only compete with but also integrate different me- dia: video recordings, radio snippets, choreography, music, and

“predominantly white” Manhattan environment and the manners of the old- er black generation hostile to ‘street’ culture makes it hard, almost impossi- ble, for him to do “rapid cultural 180s” à la Touré. Consider the description of a handshake routine performed by Benji’s friends Marcus and Bobby: “Slam, grip, flutter, snap. Or was it slam, flut- ter, grip, snap? I was all thumbs when it came to shakes.” Benji, who only perceives “a blur of choreography” reasons: “I had all summer to get it right, unless someone went back to the city and returned with some new variation

the silenced and the dead. They may tell their own truths and voice their individual histories; histories, that is to say, that run counter to the narratives of dominant history whose unreliability tends to be disavowed in a culture of certainty. And yet, in so doing Zero Patience also reflects on the camp classics – the MGM musicals, the choreographies of Busby Berkeley and the water-ballet revues of 24 | CAMP COMFORTS Esther Williams – in order to examine them in the act of their restag- ing. This brief analysis of Zero Patience already shows that the

and money can be illustrated by a rather famous work of art – Quinten Massys’ picture The Money Changer and His Wife of 1514 (see fig. 1).25 Fig. 1 The Money Changer and His Wife, Quinten Massys (1514). At first glance,Massys’ picture confirmsMaxWeber’s concept of Protestant Ethics and the Spirit of Capitalism, written about five hundred years later, in the early 20th century.The picture shows an interplay of language signs and money. Its composi- tion is based on a well-calculated choreography of visual gestures leading from the written words in the holy book on

). Whitehead divides his zombies into “average skels” (Z 33)—the cannibalistic group of zombies that “twist their bodies in unison,” as if following a “dumb choreography” (Z 20) to feed jointly on their human prey—and “harmless stragglers” (Z 33)—“the things” (Z 77) that form “a succession of imponderable tableaux” (Z 48) that stay immobile and completely oblivious to both the world and their possible prey forever. Counterbalancing the savage horde of the cannibalistic undead is the civil heroism of the “American Phoenix” (Z 79). Erecting barricades between their