PR 16.3

16.3 On Participation and Synchronosation



Issue editors: Kai Van Eikels, Bettina Brandl-Risi & Ric Allsopp

SKU: 978-0-415-674447 Category:

Product Description

In our understanding, ‘participation’ refers to the behaviour of individuals or collectives at the intercept of activity and passivity, of being-moved and moving. Participation does not necessarily imply being involved with groups, institutions, or communities. Participation occurs where an agent receives the impression that his or her own way of undergoing, experiencing, and acting takes places in a ‘real’ or ‘virtual’ proximity to that of others. Instead of reducing this proximity to a pre-figuration of unity (as in many concepts of ‘community’), this issue of Performance Research examines how differences become functional or unfold an organizational potential in processes of participation, without ever vanishing. Synchronizations of actions are key to whether people are motivated to participate, whether offers of participation are accepted or denied, whether participatory efforts are sustained or short-lived. But they also help to set up and model the situational environment of a participatory process, and influence the ‘course’ of such a process and the performative ‘architecture’ of the collective. This rethinking of participation allows for a reconsideration of notions of the performer, the audience, the public, equality, and performance itself.


Ric Allsopp
pp. 1 – 1
What Parts of Us Can Do With Parts of Each Other (and When): Some parts of this text
Kai Van Eikels
pp. 2 – 6
What Parts of Us Can Do With Parts of Each Other (and When): Some parts of this text
Kai Van Eikels
pp. 8 – 11
‘B2B’ [artist’s pages]
Jan-Holger Mauss
pp. 7
Getting Together and Falling Apart: Applauding audiences
Bettina Brandl-Risi
pp. 12 – 18
What There Will Be Instead of An Audience
The Implicated
pp. 19 – 34
‘B2B’ [artist’s pages]
Jan-Holger Mauss
pp. 35
The Art of Being Many: A position paper
pp. 36 – 42
The Outside of ‘Sitting In’: Jazz sessions and the politics of participation
Dana Gooley
pp. 43 – 48
The Diva’s Fans: Opera and bodily participation
Clemens Risi
pp. 49 – 54
‘B2B’ [artist’s pages]
Jan-Holger Mauss
pp. 55
Composing Listening
Bill Dietz
pp. 56 – 61
Now Everybody Sing: The voicing of dissensus in new choral performance
Misha Meyers
pp. 62 – 66
Tuning In/Out: Auditory participation in contemporary music and theatre performances
Katharina Rost, Stephanie Schwarz, Rainer Simon
pp. 67 – 75
‘B2B’ [artist’s pages]
Jan-Holger Mauss
pp. 76 – 77
The Piece Comes to Life through a Dialogue with the Spectators, not with the Performers: An interview on participation with Dries van Noten
Adam Czirak
pp. 78 – 83
LIGNA: The Call of the Mall
Ole Frahm
pp. 84 – 88
Out of Sync: Curation, participation and reactional pathways
Georgina Guy
pp. 89 – 93
Given the Felix Gonzalez Torres’s Case: The art of placing a different idea of participation at our disposal
Sandra Umathum
pp. 94 – 98
‘B2B’ [artist’s pages]
Jan-Holger Mauss
pp. 99
De-aging Dancerism? The aging body in contemporary and community dance
Nanako Nakajima
pp. 100 – 104
Theatre On Call: Participatory fainting and Grand-Guignol theatre
Karen Quigley
pp. 105 – 107
Worst Participatory Experiences
pp. 108 – 112
Here, There and In-Between: Rehearsing over Skype
Peter Petralia
pp. 113 – 116
Enter the Game: The role of the spectator in the performances of She She Pop
Annemarie Matzke
pp. 117 – 120
‘B2B’ [artist’s pages]
Jan-Holger Mauss
pp. 121 – 122
Sounding Off: Performance, dyssynchrony and participatory media
Heather Warren-Crow
pp. 123 – 126
‘B2B’ [artist’s pages]
Jan-Holger Mauss
pp. 127
Claire Hind
pp. 128 – 130
Notes on Contributors
pp. 133 – 134

Additional Information

Weight 0.550 kg