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Körper als Archiv in Bewegung

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Book Series: TanzScripte ISBN: 9783839430002 9783837630008 Year: Pages: 274 DOI: 10.14361/9783839430002 Language: German
Publisher: transcript Verlag Grant: Schweizerischer Nationalfonds zur Förderung der Wissenschaftlichen Forschung
Subject: Arts in general
Added to DOAB on : 2017-03-03 11:01:44
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The history of dance as the history of the body: how choreographies sketch out new modes of writing the history of dance, and how they expand the archive of dance in the process.

Die Ordnung des Theaters. Eine Soziologie der Regie

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Book Series: Theater ISBN: 9783837623420 9783839423424 Year: Pages: 454 DOI: 10.14361/9783839423424 Language: German
Publisher: transcript Verlag Grant: Swiss National Science Foundation (SNSF) - OAPEN-CH - 163521
Subject: Performing Arts
Added to DOAB on : 2015-11-26 11:01:13
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Theater direction is today more unfettered, the sphere of artistic possibilities more open, than ever before. Creative chaos on all sides? Not really. Denis Hänzi investigates how old ideals and new realities in the German-language theatrical landscape are deriving from the interplay between individual working methods and institutional configurations. Extrapolating on Bourdieu's concept of habitus/field, he develops a theory of charisma which provides an innovative approach to the analysis of contemporary artistic worlds. That the »order of the theater« bears visible traits of a culture of success which appears to consolidate the male dominance in directing is just one of the illuminating findings that makes this book fascinating for theater-makers and theater-goers alike.

Actors and the Art of Performance

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Book Series: Performance Philosophy ISBN: 9781137596338 Year: Pages: 131 Seiten DOI: 10.1057/9781137596345 Language: English
Publisher: Palgrave Macmillan Grant: Austrian Science Fund - PUB 357
Added to DOAB on : 2016-05-31 12:11:02
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Acting on stage is a mode of performing an action, in the context of which the bodily aspects implicitly at work in acting reveal their own significance and power. This event can actualize a wound incarnated in human beings, because the actor acts and does not act at the same time and hence the concept of being ‘the doer’ unmasks itself as being illusionary. One could call it a kind of ‘symbolic death’ (Mueller), an ‘anthropological mutation’ (Agamben)––an event of great interest because of its highly ethical call.The book “Actors and the Art of Performance. Under Exposure” opens with a cascade of contradictory motives for becoming an actor. But, if theatre is no longer understood as a theatre of representation, then what takes place on stage is a transformation at play with truth, in which ethics are realized by the aesthetic. Insofar the book summarizes the attempt to explore and map guidelines of acting as being under the perspective of be-coming. That may sound fairly harmless in theory, but it feels anything but harmless when you experience it on your own body. For example, for being physical under exposure actors have to learn that there exists no fundamental dualism between mind and matter. Furthermore, actors are espoused to a dynamic shifting ground in the name of creativity. They have to carry the burden that the self is no sovereign identity as we generally suppose, but rather a threshold of permanent be-coming. One could call it the outstanding gift of acting. In the German language, gift means “poison”, in German ears the word has the double meaning of poison and present, thus expressing the fact that a gift is disturbing and blessing at the same time. Loaded with fear and joy as the crucial point of acting, which attacks and attracts actors and spectators most.

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