[dance-tech] Re: Thread1: Posthuman-Postbody-Postself---Postcoreography
- From: "Jaime del Val" <jaimedelval@xxxxxxxxxxx>
- To: <dance-tech@xxxxxxxxxxxxx>
- Date: Wed, 9 Apr 2008 17:14:00 +0200
dear all,
sorry if I take some time to respond, a bit of overwork like everybody, and
there are so many threads to follow... but I'll be back asap, hopefully
today or tomorrow!...
best
jaime
----- Original Message -----
From: "Johannes Birringer" <Johannes.Birringer@xxxxxxxxxxxx>
To: <dance-tech@xxxxxxxxxxxxx>
Sent: Tuesday, April 08, 2008 9:11 PM
Subject: [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.
Other related posts: