In our understanding, \u2018participation\u2019 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 \u2018real\u2019 or \u2018virtual\u2019 proximity to that of others. Instead of reducing this proximity to a pre-figuration of unity (as in many concepts of \u2018community\u2019), 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 \u2018course\u2019 of such a process and the performative \u2018architecture\u2019 of the collective. This rethinking of participation allows for a reconsideration of notions of the performer, the audience, the public, equality, and performance itself.<\/p>\n
<\/p>\n
Preface
\nRic Allsopp
\npp. 1 – 1
\nWhat Parts of Us Can Do With Parts of Each Other (and When): Some parts of this text
\nKai Van Eikels
\npp. 2 – 6
\nWhat Parts of Us Can Do With Parts of Each Other (and When): Some parts of this text
\nKai Van Eikels
\npp. 8 – 11
\n\u2018B2B\u2019 [artist\u2019s pages]
\nJan-Holger Mauss
\npp. 7
\nGetting Together and Falling Apart: Applauding audiences
\nBettina Brandl-Risi
\npp. 12 – 18
\nWhat There Will Be Instead of An Audience
\nThe Implicated
\npp. 19 – 34
\n\u2018B2B\u2019 [artist\u2019s pages]
\nJan-Holger Mauss
\npp. 35
\nThe Art of Being Many: A position paper
\nGeheimagentur
\npp. 36 – 42
\nThe Outside of \u2018Sitting In\u2019: Jazz sessions and the politics of participation
\nDana Gooley
\npp. 43 – 48
\nThe Diva\u2019s Fans: Opera and bodily participation
\nClemens Risi
\npp. 49 – 54
\n\u2018B2B\u2019 [artist\u2019s pages]
\nJan-Holger Mauss
\npp. 55
\nComposing Listening
\nBill Dietz
\npp. 56 – 61
\nNow Everybody Sing: The voicing of dissensus in new choral performance
\nMisha Meyers
\npp. 62 – 66
\nTuning In\/Out: Auditory participation in contemporary music and theatre performances
\nKatharina Rost, Stephanie Schwarz, Rainer Simon
\npp. 67 – 75
\n\u2018B2B\u2019 [artist\u2019s pages]
\nJan-Holger Mauss
\npp. 76 – 77
\nThe Piece Comes to Life through a Dialogue with the Spectators, not with the Performers: An interview on participation with Dries van Noten
\nAdam Czirak
\npp. 78 – 83
\nLIGNA: The Call of the Mall
\nOle Frahm
\npp. 84 – 88
\nOut of Sync: Curation, participation and reactional pathways
\nGeorgina Guy
\npp. 89 – 93
\nGiven the Felix Gonzalez Torres\u2019s Case: The art of placing a different idea of participation at our disposal
\nSandra Umathum
\npp. 94 – 98
\n\u2018B2B\u2019 [artist\u2019s pages]
\nJan-Holger Mauss
\npp. 99
\nDe-aging Dancerism? The aging body in contemporary and community dance
\nNanako Nakajima
\npp. 100 – 104
\nTheatre On Call: Participatory fainting and Grand-Guignol theatre
\nKaren Quigley
\npp. 105 – 107
\nWorst Participatory Experiences
\npp. 108 – 112
\nHere, There and In-Between: Rehearsing over Skype
\nPeter Petralia
\npp. 113 – 116
\nEnter the Game: The role of the spectator in the performances of She She Pop
\nAnnemarie Matzke
\npp. 117 – 120
\n\u2018B2B\u2019 [artist\u2019s pages]
\nJan-Holger Mauss
\npp. 121 – 122
\nSounding Off: Performance, dyssynchrony and participatory media
\nHeather Warren-Crow
\npp. 123 – 126
\n\u2018B2B\u2019 [artist\u2019s pages]
\nJan-Holger Mauss
\npp. 127
\nPeep
\nClaire Hind
\npp. 128 – 130
\nNotes on Contributors
\npp. 133 – 134<\/p>\n\n\n