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.

chapter 1|11 pages

Dance, performance, media, transfer

Sketching notions and problems in the field

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

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

chapter 4|13 pages

Micro-dramaturgical temporalities of media theatre

On the difference between performative and operative re-enactment

part II|42 pages

Displacing the exhibition: between display and performance

chapter 5|11 pages

Trans(pos)ition

In the language of the curatorial

chapter 6|15 pages

Performative contours

chapter 7|14 pages

Thumb and index mode

Performance, digital art, and the ORLAN-network

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)

chapter 9|14 pages

The deadness of live opera

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

chapter 11|14 pages

Dance and building in dialogue

Five propositions on the relationship between Trisha Brown’s choreography and Diller + Scofidio’s architecture

part IV|43 pages

Moving HiStories

chapter 12|13 pages

On the margins of HiStories

Transfusions between document and performance

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)

chapter 14|15 pages

Visible Undercurrent – New York Berlin 1980/90–2014

Reconsidering dance history/ies – negotiating the now

part V|38 pages

Blurring the document

chapter 16|12 pages

Capturing dance

A report on a project in artistic research

chapter 17|10 pages

Unseen

Photography as a document of dance history writing