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Performing Arts in Transition
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Performing Arts in Transition

Moving between Media

Performing Arts in Transition

Moving between Media

Edited BySusanne Foellmer, Maria Katharina Schmidt, Cornelia Schmitz
Edition 1st Edition
First Published 2018
eBook Published 7 December 2018
Pub. location London
Imprint Routledge
DOIhttps://doi.org/10.4324/9780203701324
Pages 274 pages
eBook ISBN 9781351330206
SubjectsArts
Get Citation

Get Citation

Foellmer, S. (Ed.), Schmidt, M. (Ed.), Schmitz, C. (Ed.). (2019). Performing Arts in Transition. London: Routledge, https://doi.org/10.4324/9780203701324
ABOUT THIS BOOK

Artists especially from dance and performance art as well as opera are involved to an increasing degree in the transfer between different media, not only in their productions but also the events, materials, and documents that surround them. At the same time, the focus on that which remains has become central to any discussion of performance. Performing Arts in Transition explores what takes place in the moments of transition from one medium to another, and from the live performance to that which "survives" it. Case studies from a broad range of interdisciplinary scholars address phenomena such as:

  • The dynamics of transfer between the performing and visual arts.
  • The philosophy and terminologies of transitioning between media.
  • Narratives and counternarratives in historical re-creations.
  • The status of chronology and the document in art scholarship.

This is an essential contribution to a vibrant, multidisciplinary and international field of research emerging at the intersections of performance, visual arts, and media studies.

TABLE OF CONTENTS
chapter |14 pages
Introduction
BySusanne Foellmer, Maria Katharina Schmidt, Cornelia Schmitz
View abstract
chapter 1|11 pages
Dance, performance, media, transfer
Sketching notions and problems in the field
BySusanne Foellmer
View abstract
part I|41 pages
Material temporalities
chapter 2|13 pages
Non-time of lived experience
Colour, action, and dance in Hélio Oiticica’s early works 1
ByAndré Lepecki
View abstract
chapter 3|13 pages
Embodying, repeating, and working-through
The artistic practice of Rebecca Davis and Abigail Levine in the context of their re-enactments of Marina Abramović’s performances
ByJoy Kristin Kalu
View abstract
chapter 4|13 pages
Micro-dramaturgical temporalities of media theatre
On the difference between performative and operative re-enactment
ByWolfgang Ernst
View abstract
part II|42 pages
Displacing the exhibition: between display and performance
chapter 5|11 pages
Trans(pos)ition
In the language of the curatorial
ByBeatrice von Bismarck
View abstract
chapter 6|15 pages
Performative contours
ByNicole Haitzinger
View abstract
chapter 7|14 pages
Thumb and index mode
Performance, digital art, and the ORLAN-network
ByWolf-Dieter Ernst
View abstract
part III|56 pages
Processes of genre transfer
chapter 8|13 pages
Videoed memories and movements, rediscovered and regained
It’s Aching like Birds (2001)
ByUlrike Hanstein
View abstract
chapter 9|14 pages
The deadness of live opera
ByChristopher Morris
View abstract
chapter 10|13 pages
The equally valid image
Considerations on Ragnar Kjartansson’s art of challenging the hierarchy between attending a performance and relying on its photographic remains
BySandra Umathum
View abstract
chapter 11|14 pages
Dance and building in dialogue
Five propositions on the relationship between Trisha Brown’s choreography and Diller + Scofidio’s architecture
BySusan Rosenberg
View abstract
part IV|43 pages
Moving HiStories
chapter 12|13 pages
On the margins of HiStories
Transfusions between document and performance
ByGabriele Brandstetter
View abstract
chapter 13|13 pages
“Our method is transmission”
The body as document in Christina Ciupke’s and Anna Till’s performance undo, redo and repeat (2014)
ByDaniela Hahn
View abstract
chapter 14|15 pages
Visible Undercurrent – New York Berlin 1980/90–2014
Reconsidering dance history/ies – negotiating the now
ByKirsten Maar, Peter Pleyer
View abstract
part V|38 pages
Blurring the document
chapter 15|14 pages
Pictures, texts, sounds, zoo animals … : on the materiality of documents
ByRenate Wöhrer
View abstract
chapter 16|12 pages
Capturing dance
A report on a project in artistic research
ByFranz Anton Cramer, Sigrid Gareis, Alexandra Hennig
View abstract
chapter 17|10 pages
Unseen
Photography as a document of dance history writing
ByIsa Wortelkamp
View abstract

Artists especially from dance and performance art as well as opera are involved to an increasing degree in the transfer between different media, not only in their productions but also the events, materials, and documents that surround them. At the same time, the focus on that which remains has become central to any discussion of performance. Performing Arts in Transition explores what takes place in the moments of transition from one medium to another, and from the live performance to that which "survives" it. Case studies from a broad range of interdisciplinary scholars address phenomena such as:

  • The dynamics of transfer between the performing and visual arts.
  • The philosophy and terminologies of transitioning between media.
  • Narratives and counternarratives in historical re-creations.
  • The status of chronology and the document in art scholarship.

This is an essential contribution to a vibrant, multidisciplinary and international field of research emerging at the intersections of performance, visual arts, and media studies.

TABLE OF CONTENTS
chapter |14 pages
Introduction
BySusanne Foellmer, Maria Katharina Schmidt, Cornelia Schmitz
View abstract
chapter 1|11 pages
Dance, performance, media, transfer
Sketching notions and problems in the field
BySusanne Foellmer
View abstract
part I|41 pages
Material temporalities
chapter 2|13 pages
Non-time of lived experience
Colour, action, and dance in Hélio Oiticica’s early works 1
ByAndré Lepecki
View abstract
chapter 3|13 pages
Embodying, repeating, and working-through
The artistic practice of Rebecca Davis and Abigail Levine in the context of their re-enactments of Marina Abramović’s performances
ByJoy Kristin Kalu
View abstract
chapter 4|13 pages
Micro-dramaturgical temporalities of media theatre
On the difference between performative and operative re-enactment
ByWolfgang Ernst
View abstract
part II|42 pages
Displacing the exhibition: between display and performance
chapter 5|11 pages
Trans(pos)ition
In the language of the curatorial
ByBeatrice von Bismarck
View abstract
chapter 6|15 pages
Performative contours
ByNicole Haitzinger
View abstract
chapter 7|14 pages
Thumb and index mode
Performance, digital art, and the ORLAN-network
ByWolf-Dieter Ernst
View abstract
part III|56 pages
Processes of genre transfer
chapter 8|13 pages
Videoed memories and movements, rediscovered and regained
It’s Aching like Birds (2001)
ByUlrike Hanstein
View abstract
chapter 9|14 pages
The deadness of live opera
ByChristopher Morris
View abstract
chapter 10|13 pages
The equally valid image
Considerations on Ragnar Kjartansson’s art of challenging the hierarchy between attending a performance and relying on its photographic remains
BySandra Umathum
View abstract
chapter 11|14 pages
Dance and building in dialogue
Five propositions on the relationship between Trisha Brown’s choreography and Diller + Scofidio’s architecture
BySusan Rosenberg
View abstract
part IV|43 pages
Moving HiStories
chapter 12|13 pages
On the margins of HiStories
Transfusions between document and performance
ByGabriele Brandstetter
View abstract
chapter 13|13 pages
“Our method is transmission”
The body as document in Christina Ciupke’s and Anna Till’s performance undo, redo and repeat (2014)
ByDaniela Hahn
View abstract
chapter 14|15 pages
Visible Undercurrent – New York Berlin 1980/90–2014
Reconsidering dance history/ies – negotiating the now
ByKirsten Maar, Peter Pleyer
View abstract
part V|38 pages
Blurring the document
chapter 15|14 pages
Pictures, texts, sounds, zoo animals … : on the materiality of documents
ByRenate Wöhrer
View abstract
chapter 16|12 pages
Capturing dance
A report on a project in artistic research
ByFranz Anton Cramer, Sigrid Gareis, Alexandra Hennig
View abstract
chapter 17|10 pages
Unseen
Photography as a document of dance history writing
ByIsa Wortelkamp
View abstract
CONTENTS
ABOUT THIS BOOK

Artists especially from dance and performance art as well as opera are involved to an increasing degree in the transfer between different media, not only in their productions but also the events, materials, and documents that surround them. At the same time, the focus on that which remains has become central to any discussion of performance. Performing Arts in Transition explores what takes place in the moments of transition from one medium to another, and from the live performance to that which "survives" it. Case studies from a broad range of interdisciplinary scholars address phenomena such as:

  • The dynamics of transfer between the performing and visual arts.
  • The philosophy and terminologies of transitioning between media.
  • Narratives and counternarratives in historical re-creations.
  • The status of chronology and the document in art scholarship.

This is an essential contribution to a vibrant, multidisciplinary and international field of research emerging at the intersections of performance, visual arts, and media studies.

TABLE OF CONTENTS
chapter |14 pages
Introduction
BySusanne Foellmer, Maria Katharina Schmidt, Cornelia Schmitz
View abstract
chapter 1|11 pages
Dance, performance, media, transfer
Sketching notions and problems in the field
BySusanne Foellmer
View abstract
part I|41 pages
Material temporalities
chapter 2|13 pages
Non-time of lived experience
Colour, action, and dance in Hélio Oiticica’s early works 1
ByAndré Lepecki
View abstract
chapter 3|13 pages
Embodying, repeating, and working-through
The artistic practice of Rebecca Davis and Abigail Levine in the context of their re-enactments of Marina Abramović’s performances
ByJoy Kristin Kalu
View abstract
chapter 4|13 pages
Micro-dramaturgical temporalities of media theatre
On the difference between performative and operative re-enactment
ByWolfgang Ernst
View abstract
part II|42 pages
Displacing the exhibition: between display and performance
chapter 5|11 pages
Trans(pos)ition
In the language of the curatorial
ByBeatrice von Bismarck
View abstract
chapter 6|15 pages
Performative contours
ByNicole Haitzinger
View abstract
chapter 7|14 pages
Thumb and index mode
Performance, digital art, and the ORLAN-network
ByWolf-Dieter Ernst
View abstract
part III|56 pages
Processes of genre transfer
chapter 8|13 pages
Videoed memories and movements, rediscovered and regained
It’s Aching like Birds (2001)
ByUlrike Hanstein
View abstract
chapter 9|14 pages
The deadness of live opera
ByChristopher Morris
View abstract
chapter 10|13 pages
The equally valid image
Considerations on Ragnar Kjartansson’s art of challenging the hierarchy between attending a performance and relying on its photographic remains
BySandra Umathum
View abstract
chapter 11|14 pages
Dance and building in dialogue
Five propositions on the relationship between Trisha Brown’s choreography and Diller + Scofidio’s architecture
BySusan Rosenberg
View abstract
part IV|43 pages
Moving HiStories
chapter 12|13 pages
On the margins of HiStories
Transfusions between document and performance
ByGabriele Brandstetter
View abstract
chapter 13|13 pages
“Our method is transmission”
The body as document in Christina Ciupke’s and Anna Till’s performance undo, redo and repeat (2014)
ByDaniela Hahn
View abstract
chapter 14|15 pages
Visible Undercurrent – New York Berlin 1980/90–2014
Reconsidering dance history/ies – negotiating the now
ByKirsten Maar, Peter Pleyer
View abstract
part V|38 pages
Blurring the document
chapter 15|14 pages
Pictures, texts, sounds, zoo animals … : on the materiality of documents
ByRenate Wöhrer
View abstract
chapter 16|12 pages
Capturing dance
A report on a project in artistic research
ByFranz Anton Cramer, Sigrid Gareis, Alexandra Hennig
View abstract
chapter 17|10 pages
Unseen
Photography as a document of dance history writing
ByIsa Wortelkamp
View abstract

Artists especially from dance and performance art as well as opera are involved to an increasing degree in the transfer between different media, not only in their productions but also the events, materials, and documents that surround them. At the same time, the focus on that which remains has become central to any discussion of performance. Performing Arts in Transition explores what takes place in the moments of transition from one medium to another, and from the live performance to that which "survives" it. Case studies from a broad range of interdisciplinary scholars address phenomena such as:

  • The dynamics of transfer between the performing and visual arts.
  • The philosophy and terminologies of transitioning between media.
  • Narratives and counternarratives in historical re-creations.
  • The status of chronology and the document in art scholarship.

This is an essential contribution to a vibrant, multidisciplinary and international field of research emerging at the intersections of performance, visual arts, and media studies.

TABLE OF CONTENTS
chapter |14 pages
Introduction
BySusanne Foellmer, Maria Katharina Schmidt, Cornelia Schmitz
View abstract
chapter 1|11 pages
Dance, performance, media, transfer
Sketching notions and problems in the field
BySusanne Foellmer
View abstract
part I|41 pages
Material temporalities
chapter 2|13 pages
Non-time of lived experience
Colour, action, and dance in Hélio Oiticica’s early works 1
ByAndré Lepecki
View abstract
chapter 3|13 pages
Embodying, repeating, and working-through
The artistic practice of Rebecca Davis and Abigail Levine in the context of their re-enactments of Marina Abramović’s performances
ByJoy Kristin Kalu
View abstract
chapter 4|13 pages
Micro-dramaturgical temporalities of media theatre
On the difference between performative and operative re-enactment
ByWolfgang Ernst
View abstract
part II|42 pages
Displacing the exhibition: between display and performance
chapter 5|11 pages
Trans(pos)ition
In the language of the curatorial
ByBeatrice von Bismarck
View abstract
chapter 6|15 pages
Performative contours
ByNicole Haitzinger
View abstract
chapter 7|14 pages
Thumb and index mode
Performance, digital art, and the ORLAN-network
ByWolf-Dieter Ernst
View abstract
part III|56 pages
Processes of genre transfer
chapter 8|13 pages
Videoed memories and movements, rediscovered and regained
It’s Aching like Birds (2001)
ByUlrike Hanstein
View abstract
chapter 9|14 pages
The deadness of live opera
ByChristopher Morris
View abstract
chapter 10|13 pages
The equally valid image
Considerations on Ragnar Kjartansson’s art of challenging the hierarchy between attending a performance and relying on its photographic remains
BySandra Umathum
View abstract
chapter 11|14 pages
Dance and building in dialogue
Five propositions on the relationship between Trisha Brown’s choreography and Diller + Scofidio’s architecture
BySusan Rosenberg
View abstract
part IV|43 pages
Moving HiStories
chapter 12|13 pages
On the margins of HiStories
Transfusions between document and performance
ByGabriele Brandstetter
View abstract
chapter 13|13 pages
“Our method is transmission”
The body as document in Christina Ciupke’s and Anna Till’s performance undo, redo and repeat (2014)
ByDaniela Hahn
View abstract
chapter 14|15 pages
Visible Undercurrent – New York Berlin 1980/90–2014
Reconsidering dance history/ies – negotiating the now
ByKirsten Maar, Peter Pleyer
View abstract
part V|38 pages
Blurring the document
chapter 15|14 pages
Pictures, texts, sounds, zoo animals … : on the materiality of documents
ByRenate Wöhrer
View abstract
chapter 16|12 pages
Capturing dance
A report on a project in artistic research
ByFranz Anton Cramer, Sigrid Gareis, Alexandra Hennig
View abstract
chapter 17|10 pages
Unseen
Photography as a document of dance history writing
ByIsa Wortelkamp
View abstract
ABOUT THIS BOOK
ABOUT THIS BOOK

Artists especially from dance and performance art as well as opera are involved to an increasing degree in the transfer between different media, not only in their productions but also the events, materials, and documents that surround them. At the same time, the focus on that which remains has become central to any discussion of performance. Performing Arts in Transition explores what takes place in the moments of transition from one medium to another, and from the live performance to that which "survives" it. Case studies from a broad range of interdisciplinary scholars address phenomena such as:

  • The dynamics of transfer between the performing and visual arts.
  • The philosophy and terminologies of transitioning between media.
  • Narratives and counternarratives in historical re-creations.
  • The status of chronology and the document in art scholarship.

This is an essential contribution to a vibrant, multidisciplinary and international field of research emerging at the intersections of performance, visual arts, and media studies.

TABLE OF CONTENTS
chapter |14 pages
Introduction
BySusanne Foellmer, Maria Katharina Schmidt, Cornelia Schmitz
View abstract
chapter 1|11 pages
Dance, performance, media, transfer
Sketching notions and problems in the field
BySusanne Foellmer
View abstract
part I|41 pages
Material temporalities
chapter 2|13 pages
Non-time of lived experience
Colour, action, and dance in Hélio Oiticica’s early works 1
ByAndré Lepecki
View abstract
chapter 3|13 pages
Embodying, repeating, and working-through
The artistic practice of Rebecca Davis and Abigail Levine in the context of their re-enactments of Marina Abramović’s performances
ByJoy Kristin Kalu
View abstract
chapter 4|13 pages
Micro-dramaturgical temporalities of media theatre
On the difference between performative and operative re-enactment
ByWolfgang Ernst
View abstract
part II|42 pages
Displacing the exhibition: between display and performance
chapter 5|11 pages
Trans(pos)ition
In the language of the curatorial
ByBeatrice von Bismarck
View abstract
chapter 6|15 pages
Performative contours
ByNicole Haitzinger
View abstract
chapter 7|14 pages
Thumb and index mode
Performance, digital art, and the ORLAN-network
ByWolf-Dieter Ernst
View abstract
part III|56 pages
Processes of genre transfer
chapter 8|13 pages
Videoed memories and movements, rediscovered and regained
It’s Aching like Birds (2001)
ByUlrike Hanstein
View abstract
chapter 9|14 pages
The deadness of live opera
ByChristopher Morris
View abstract
chapter 10|13 pages
The equally valid image
Considerations on Ragnar Kjartansson’s art of challenging the hierarchy between attending a performance and relying on its photographic remains
BySandra Umathum
View abstract
chapter 11|14 pages
Dance and building in dialogue
Five propositions on the relationship between Trisha Brown’s choreography and Diller + Scofidio’s architecture
BySusan Rosenberg
View abstract
part IV|43 pages
Moving HiStories
chapter 12|13 pages
On the margins of HiStories
Transfusions between document and performance
ByGabriele Brandstetter
View abstract
chapter 13|13 pages
“Our method is transmission”
The body as document in Christina Ciupke’s and Anna Till’s performance undo, redo and repeat (2014)
ByDaniela Hahn
View abstract
chapter 14|15 pages
Visible Undercurrent – New York Berlin 1980/90–2014
Reconsidering dance history/ies – negotiating the now
ByKirsten Maar, Peter Pleyer
View abstract
part V|38 pages
Blurring the document
chapter 15|14 pages
Pictures, texts, sounds, zoo animals … : on the materiality of documents
ByRenate Wöhrer
View abstract
chapter 16|12 pages
Capturing dance
A report on a project in artistic research
ByFranz Anton Cramer, Sigrid Gareis, Alexandra Hennig
View abstract
chapter 17|10 pages
Unseen
Photography as a document of dance history writing
ByIsa Wortelkamp
View abstract

Artists especially from dance and performance art as well as opera are involved to an increasing degree in the transfer between different media, not only in their productions but also the events, materials, and documents that surround them. At the same time, the focus on that which remains has become central to any discussion of performance. Performing Arts in Transition explores what takes place in the moments of transition from one medium to another, and from the live performance to that which "survives" it. Case studies from a broad range of interdisciplinary scholars address phenomena such as:

  • The dynamics of transfer between the performing and visual arts.
  • The philosophy and terminologies of transitioning between media.
  • Narratives and counternarratives in historical re-creations.
  • The status of chronology and the document in art scholarship.

This is an essential contribution to a vibrant, multidisciplinary and international field of research emerging at the intersections of performance, visual arts, and media studies.

TABLE OF CONTENTS
chapter |14 pages
Introduction
BySusanne Foellmer, Maria Katharina Schmidt, Cornelia Schmitz
View abstract
chapter 1|11 pages
Dance, performance, media, transfer
Sketching notions and problems in the field
BySusanne Foellmer
View abstract
part I|41 pages
Material temporalities
chapter 2|13 pages
Non-time of lived experience
Colour, action, and dance in Hélio Oiticica’s early works 1
ByAndré Lepecki
View abstract
chapter 3|13 pages
Embodying, repeating, and working-through
The artistic practice of Rebecca Davis and Abigail Levine in the context of their re-enactments of Marina Abramović’s performances
ByJoy Kristin Kalu
View abstract
chapter 4|13 pages
Micro-dramaturgical temporalities of media theatre
On the difference between performative and operative re-enactment
ByWolfgang Ernst
View abstract
part II|42 pages
Displacing the exhibition: between display and performance
chapter 5|11 pages
Trans(pos)ition
In the language of the curatorial
ByBeatrice von Bismarck
View abstract
chapter 6|15 pages
Performative contours
ByNicole Haitzinger
View abstract
chapter 7|14 pages
Thumb and index mode
Performance, digital art, and the ORLAN-network
ByWolf-Dieter Ernst
View abstract
part III|56 pages
Processes of genre transfer
chapter 8|13 pages
Videoed memories and movements, rediscovered and regained
It’s Aching like Birds (2001)
ByUlrike Hanstein
View abstract
chapter 9|14 pages
The deadness of live opera
ByChristopher Morris
View abstract
chapter 10|13 pages
The equally valid image
Considerations on Ragnar Kjartansson’s art of challenging the hierarchy between attending a performance and relying on its photographic remains
BySandra Umathum
View abstract
chapter 11|14 pages
Dance and building in dialogue
Five propositions on the relationship between Trisha Brown’s choreography and Diller + Scofidio’s architecture
BySusan Rosenberg
View abstract
part IV|43 pages
Moving HiStories
chapter 12|13 pages
On the margins of HiStories
Transfusions between document and performance
ByGabriele Brandstetter
View abstract
chapter 13|13 pages
“Our method is transmission”
The body as document in Christina Ciupke’s and Anna Till’s performance undo, redo and repeat (2014)
ByDaniela Hahn
View abstract
chapter 14|15 pages
Visible Undercurrent – New York Berlin 1980/90–2014
Reconsidering dance history/ies – negotiating the now
ByKirsten Maar, Peter Pleyer
View abstract
part V|38 pages
Blurring the document
chapter 15|14 pages
Pictures, texts, sounds, zoo animals … : on the materiality of documents
ByRenate Wöhrer
View abstract
chapter 16|12 pages
Capturing dance
A report on a project in artistic research
ByFranz Anton Cramer, Sigrid Gareis, Alexandra Hennig
View abstract
chapter 17|10 pages
Unseen
Photography as a document of dance history writing
ByIsa Wortelkamp
View abstract
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