Performing Arts in Transition

<p>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. <i>Performing Arts in Transition</i> 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:</p><p></p><ul> <br><br><p></p> <li>The dynamics of transfer between the performing and visual arts.</li> <br><br> <br><br><p></p> <li>The philosophy and terminologies of transitioning between media. </li> <br><br> <br><br><p></p> <li>Narratives and counternarratives in historical re-creations. </li> <br><br> <br><br><p></p> <li>The status of chronology and the document in art scholarship. </li> <br><br> </ul><p></p><p>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.</p> <p></p><p><em>Susanne Foellmer, Maria Katharina Schmidt, and Cornelia Schmitz </em>Introduction</p><p></p><p>1 <em>Susanne Foellmer</em> Dance, Performance, Media, Transfer: Sketching Notions and Problems in the Field</p><p></p><p>Part I: Material Temporalities </p><p></p><p>2 <em>André Lepecki</em> Non-time of lived experience: colour, action, and dance in Hélio Oiticica’s early works</p><p></p><p>3 <em>Joy Kristin Kalu</em> 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</p><p></p><p>4 <em>Wolfgang Ernst</em> Micro-dramaturgical Temporalities of Media Theatre: On the Difference between Performative and Operative Re-enactment</p><p></p><p>Part II: Displacing the Exhibition: Between Display and Performance </p><p></p><p>5 <em>Beatrice von Bismarck</em> Trans(pos)ition: In the language of the curatorial</p><p></p><p>6 <em>Nicole Haitzinger</em> Performative Contours</p><p></p><p>7 <em>Wolf-Dieter Ernst</em><b> </b>Thumb and Index Mode. Performance, Digital Art, and the ORLAN Network </p><p></p><p>Part III: Processes of Genre Transfer</p><p></p><p>8 <em>Ulrike Hanstein</em> Videoed Memories and Movements, Rediscovered and Regained: <em>It’s Aching Like Birds</em> (2001)</p><p></p><p>9 <em>Christopher Morris</em> The Deadness of Live Opera</p><p></p><p>10 <em>Sandra Umathum</em> The equally-valid image. Considerations on Ragnar Kjartansson’s art of challenging the hierarchy between attending a performance and relying on its photographic remains</p><p></p><p>11 <em>Susan Rosenberg</em> Dance and Building in Dialogue: Five Propositions on the Relationship between Trisha Brown’s Choreography and Diller + Scofidio’s Architecture </p><p></p><p>Part IV: Moving HiStories </p><p></p><p>12 <em>Gabriele Brandstetter</em> On the Margins of HiStories. Trans-fusions Between Document and Performance</p><p></p><p>13 <em>Daniela Hahn</em> "Our method is transmission": The Body as Document in Christina Ciupke’s and Anna Till’s performance <i>undo, redo and repeat </i>(2014)</p><p></p><p>14 <em>Kirsten Maar and Peter Pleyer</em> Visible Undercurrent <i>– </i>New York Berlin 1980/90-2014:<b> </b>Reconsidering Histori/es – Negotiating the Now</p><p></p><p>Part V: Blurring the Document </p><p></p><p>15 <em>Renate Wöhrer</em> Pictures, Texts, Sounds, Zoo Animals…: On the Materiality of Documents</p><p></p><p>16 <em>Franz Anton Cramer, Sigrid Gareis, and Alexandra Hennig</em> Capturing Dance: A Report on a Project in Artistic Research</p><p></p><p>17 <em>Isa Wortelkamp</em> Unseen: Photography as a Document of Dance History Writing</p>