Description
In the contexts of European performance arts in particular, choreography as a term and as a field of activity has shifted radically since the 1990s. Stable and historical definitions of choreography, as inscriptions of movement characterized through compositional approaches to bodily movement in time and space, have moved towards choreographic approaches that question such normative relationships between movement, composition and the production of dance, and expand the notion of choreography as an art that includes a wider range of conceptual tools, materials and strategies. A shift towards the conceptualization of choreography in terms other than or additional to the arrangement of bodily movement has produced a range of performance work that suggests that choreography is a field of contemporary arts practice that provides not only vectors for new forms of trans-disciplinary arts research but also a locus for questioning the orthodoxies of contemporary art work and practice. Through this work choreography can now be seen to invoke, recuperate and incorporate other forms of cultural practice (both historical and contemporary).
Editorial: On Choreography
Ric Allsopp, André Lepecki
pp. 1 – 6
Dance in General or Choreographing the Public, Making Assemblages
Rudi Laermans
pp. 7 – 14
The Makings of … Production and Practice of the Self in Choreography: The Case of Vera Mantero and Guests
Bojana Bauer
pp. 15 – 22
The Choreography of the Pedestrian
Elizabeth Dempster
pp. 23 – 28
Where is the Space of Choreography? [artist’s pages]
Eleanor Bowen
pp. 29 – 34
The Movement of Embodied Thought The Representational Game of the Stage Zero of Signification in Jérôme Bel
Una Bauer
pp. 35 – 41
Jérôme Bel : An Interview
Una Bauer
pp. 42 – 48
How Do You Want to Say Goodbye? A Choreography for a Last Performance
Lin Hixson
pp. 49 – 54
Notes on Choreography
Sally Gardner
pp. 55 – 60
Petrified? Some Thoughts on Practical Research and Dance Historiography
Kate Elswit
pp. 61 – 69
My Private Bio-Politics: A Performance on a Paper Floor
Saša Asentic, Ana Vujanović
pp. 70 – 78
Privacy in accordance with BADco’s Memories are made of this …
Mårten Spångberg
pp. 79 – 84
This Side of the Gathering The Movement of Acting Collectively: Ligna’s Radioballett
Kai Van Eikels
pp. 85 – 98
Frau Fiber and the Synchronized Sewing Squad : Political Theory and Choreographing Labour
Myron M. Beasley
pp. 99 – 104
Infinite Field: Dance Drawing [artist’s pages]
Barbara Neri
pp. 105 – 108
Troika Ranch : Making New Connections A Deleuzian Approach to Performance and Technology
Susan Broadhurst
pp. 109 – 117
After Choreography
Johannes Birringer
pp. 118 – 122
The Choreography of Singularity and Difference And Then by Eszter Salamon
Ana Vujanović
pp. 123 – 130
Choreographic Resources Agents, Archives, Scores and Installations
Scott deLahunta, Norah Zuniga Shaw
pp. 131 – 133
Review Essay: The Wooster Group: Hamlet, or the Tragic of the Surface
Katia Arfara
pp. 134 – 137
Book Reviews
Fiona Wilkie, Christopher T. Matsos
pp. 138 – 140
Notes on Contributors
pp. 141 – 142
