[dance-tech] Re: Thread1: Posthuman-Postbody-Postself---Postcoreography

Jaime --- after reading some your propositions, can you say a bit more about 
how you understand the notion of the < performatic > in the context of our 
discussions on the post-choreographic ?

(also in context of Nathaniel's recent remarks:

>>But one of the most fascinating things the study of structuralism, and for 
>>that matter the body, has taught me personally is that these things are not 
>>only performative, but also generative and self-deforming. They change over 
>>time, through per-formance, through their poststructure, through enfleshed 
>>meaning-making and understanding. And so, perhaps, that change, that 
>>performance, that transformation is actually more essential for, at the core 
>>of, the "thing," than the performative utterances that name its parts (or 
>>activities). Perhaps the being-with of change, the interrogation, the process 
>>itself, is a pre-condition (or at least co-condition) for structure. In this 
>>case it may be vital to, sometimes (but certainly not always), ignore 
>>structure and instead engage with the embodied feedback loops between our 
>>presupposed understandings of such categories. >>

very well, then, this is about what I had in mind when i wote of "structure as 
outcome" as few weeks ago, in the very performative sense that is being 
addressed here by all of us.

(Jaime, you seem to have strong thoughts on where "performativities" might have 
originally been discussed, in the arena of queer theory and gender troubling 
writing/philosophy  - but you surely also saw the notion of the performative 
wander around a bit, and "Performanz"  has been a firmly established 
theoretical concept now in the continental performance studies in Germany and 
also the postdramatic theatre field. (I will repost a posting by Heide Lazarus 
on this issue, which is very interesting from a historical and conceptual point 
of view, and unfortunately was not receiving enough attention here, and i am 
not sure that her reference to the german speaking reception of the 
performative are widely known in other parts of the world, e.g. the 
publications by Erika Fischer-Lichte, Gabriele Brandstetter, but also Martina 
Leeker, Sibylle Krämer.......)
  

"performatics" will soon be a featured topic also in a british performance 
journal, and PR took their feature theme of "Performatik" from a discussion 
that went on for a while in Poland, where theatre practitioners and scholars 
got together to explore PERFORMATYKA  *(see at bottom). 

 again, if we were to ask now how the receptions of these terrms work in India 
or Brasil or Japan, or what terms might have travel to us from there  (how come 
we don;t use more concepts from the japanese and indian dance technologies 
contexts?), we'd be in midst of the transcultural dynamics that was addressed 
by the posts on our languages
 & taxonomies.


regards
Johannes Birringer


Jaime wrote:
>>>[..]

And this is also the framework in which I use the term POSTCOREOGRAPHY myself 
in relation to my own work: Firstly, when you coreograph a posthuman body, or 
when in the context of new media you work with nearly illegible bodies, 
fragmentary, new kinds of bodies that cannot be framed under the humanist 
project of which dance is part of (as far as we understand dance in western 
traditions, for there can be no general concept for dance), then we can speak 
of postcoreography. Secondly in a transdisciplinary, transmedia context, where 
the écriture of coreography is being developed in between, in a frontier zone 
of feedbacks with the musical, visual and other forms of écriture in which 
novel forms of proprioception and cross-modal perception may be enacted, then 
we are transgressing the frontiers of the discipline of coreography, and indeed 
the established territories and anatomies of the body in a deeper sense.

In this respect I also speak of post-visual, post-musical and 
post-architectural.

I am using the terms in the context of my work Microdances_Antibodies of 
Surveillance. pictures, videos and texts online here (we are completing the 
information and will soon launch it) 
http://www.reverso.org/Morf4_MICRODANAS-PERF.htm --- but the theoretical 
frameworks are not to be understood as ground for, nor as based upon, the work, 
they emerge in feedback and constitute independent fields, what other modes of 
thinking regarding the work there may be I do not know.



So all these branches relate in different ways within the field of collapse of 
the contingent structures of our cultural traditions, knowledges, social 
structures and power, and we can work in between to create novel zones, bodies 
and architectures for new kinds of post-subjectivity.

 >>>>>>>>>>>


***
In December 2006 the Grotowski Centre (now the Grotowski Institute) in Wroclaw, 
Poland in collaboration with Tomasz Kubikowski from the Warsaw Theatre Academy, 
hosted an international conference entitled in English 'Performance Studies: 
and Beyond'.  The event marked the translation into Polish and publication of 
Richard Schechner's textbook Performance Studies: An Introduction but the 
conference hosts and conveners were keen to think beyond the NYU school of 
Performance Studies and seek relevance and application for the term (and field) 
within an advanced and sophisticated mode of theatre studies in Poland.

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