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Dialogical Aesthetics Reconfiguring Theatrical Spaces through Digital Technology Susanne Thurow, Dennis Del Favero and Caroline Wake Throughout history, theatre has engaged new technologies to broaden its creative and expressive capabilities to refine its artistic engagement with contemporary concerns. As seen in the experimentation with lighting technologies (of which digital projection is just the latest iteration), technological advances can have wide-ranging impact on the way we conceptualise and shape theatrical practice. Replacing gas lights with

ausprobiert werden und so zum Ausgangspunkt eines „ite- rativen“ Game Design Prozesses und durch diesen zunehmend greif- und formbar werden.11 Iteratives Design bezieht sich dabei auf einen Prozess aus sich wiederho- lenden Schleifen zwischen Design, Prototyp und Test, in welchem ich als Gestalter – figurativ gesprochen – über Probleme oder Potentiale des Games stolpere, das ich gerade entwickle. Oft stoßen Gestalter*innen bei einem solchen Vorrangehen auf Wechselwirkungen, die nicht, oder nur bedingt, im Vorfeld erkennbar sind und so auch erst nach dem praktischen

helpful to think about these intervals relative to the mo- ments of possibility between call and response. If a call is iterated, »Hello,« or »Hey, you there!,« an interval ensues as a response is beckoned. What happens in the interval before response is a moment of as-yet undecidedness, for even if habit- ual response is expected (by the policeman, say), it is never entirely ensured. The time between call and response is an open moment of time in wait for a temporal return. Given that response is the call on the ricocheting rebound, the response might swerve away

from other dis- ciplines etc.) is working in dialogue with Forsythe and other advisors in an iterative design process.1 Building on some of Zuniga Shaw’s closing questions, Scott deLahunta concludes the essay with observations drawn from earlier and similar initiatives. Motion Bank: Investing in Dance Knowledge By Rebecca Groves The knowledge inherent in dance is notoriously difficult to capture and to document. In spite of the obstacles, choreographer William Forsythe insists that dance practitioners today need to develop a new kind of »dance literature

- epistemisches Objekt“ beschreiben. Siehe Günther Abel, „Sammlungen als epistemi- sche Objekte und Manifestationen von Ordnungen des Wissens“, in: Uta Hassler und Torsten Meyer (Hg.), Kategorien des Wissens. Die Sammlung als epistemisches Objekt, Zürich 2014, S. 109–132. 30 | Vgl. Eva Cancik-Kirschbaum und Anita Traninger, „Institution – Iteration – Transfer. Zur Einführung“, in: Dies. (Hg.), Wissen in Bewegung. Institution – Iteration – Transfer, Wiesbaden 2015, S. 1–13. B. Büscher, V. E. Eitel, J. Lazardzig, B. Newelesy und M.-C. Schube Monumente in Bewegung? 187 Für die

behind the first loud spot! and gradually grows quieter in the background. At position [2] a five-fold “oink” appears, during which there is no echo. Not until the middle of the last question does the echo set in again quietly and grow louder, so that by the end of the section the last echo is almost as loud as it was at the beginning of the advert. And at exactly that point the fragment re- sumes again from the start. This iterative entry of the echo of spot! is accompanied by a three-fold repetition of the first phrase and the acoustic similarity between the

respective arena of enunciation – in order to survive socially and eco- nomically? At the same time, the mere proliferation of the ‘political’ in current 184 | MARTIN NACHBAR dance-making and thinking about it, addressed by André Lepecki, seems indeed to make it inevitable to face its effects on my own choreographing and dancing. I would like to develop some open-ended thoughts, re-iterating some of my and my colleagues’ praxes, taking my doubts on board and hoping not to formu- late an artistic manifesto or scientific argument but rather an anecdotal account of how

- pings between movement and sound. A method is established that oscillates between exploration and reflection. By iterating this cycle, the advances in concepts, ideas, and insights lead to the realisation that only real-life play situations may condense sketches into full, multi-layered experiences. Bringing all of the elements into action in these test-performances, sometimes with a small audience, enables evaluation and further dialogue. Post-performance discussions are essential for this method and inform decisions on how to modify the process, the

, tritt hier die Rede von bedeu- tungslosen, auf nichts als sich selbst bezogenen Körpern und ‚ihrer‘ Materialität, die weder eine Geschichte noch eine Signifikanz haben – und insofern weitge- hend naturalisiert sind. Entsprechend unterdrückt Fischer-Lichte auch das für Butler zentrale Moment der Iteration5: Performativität wird auf ein Einzelvor- kommnis eines aufgeführten Aktes im Hier und Jetzt (vgl.: Bal 2001: 198) redu- ziert. Meine Kritik an Fischer-Lichtes Insistieren auf der theatralen Singularität findet in Kati Röttgers Einwänden gegen das performance

associated with the piece, what we liked, where things worked, reflections on the relational aspect, ideas that could be further explored and so on. Subsequently video files were shared, viewed and notes made independently. In this way an iterative practice led research cycle (Reason/Bradbury 2007) was established that has proved to have longevity, sustaining the shared phenomenological practice-led research approach. The professional partnership is, for me, directly analogous to a working band in music, for example, leading to public performances including