Performing Arts in Transition

Susanne Foellmer is Reader in Dance at Coventry University, Centre for Dance Research (C-DaRE), UK. Maria Katharina Schmidt, independent researcher, has been a research fellow in the project On Remnants and Vestiges: Strategies of Remaining in the Performing Arts at the Freie Universität Berlin, Germany.Cornelia Schmitz, independent researcher, has been a research fellow in the project On Remnants and Vestiges: Strategies of Remaining in the Performing Arts at the Freie Universität Berlin, Germany.

• Susanne Foellmer, Maria Katharina Schmidt, and Cornelia Schmitz Introduction1 Susanne Foellmer Dance, Performance, Media, Transfer: Sketching Notions and Problems in the FieldPart I: Material Temporalities 2 André Lepecki Non-time of lived experience: colour, action, and dance in Hélio Oiticica’s early works3 Joy Kristin Kalu 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 Performances4 Wolfgang Ernst Micro-dramaturgical Temporalities of Media Theatre: On the Difference between Performative and Operative Re-enactmentPart II: Displacing the Exhibition: Between Display and Performance 5 Beatrice von Bismarck Trans(pos)ition: In the language of the curatorial6 Nicole Haitzinger Performative Contours7 Wolf-Dieter Ernst Thumb and Index Mode. Performance, Digital Art, and the ORLAN Network Part III: Processes of Genre Transfer8 Ulrike Hanstein Videoed Memories and Movements, Rediscovered and Regained: It’s Aching Like Birds (2001)9 Christopher Morris The Deadness of Live Opera10 Sandra Umathum The equally-valid image. Considerations on Ragnar Kjartansson’s art of challenging the hierarchy between attending a performance and relying on its photographic remains11 Susan Rosenberg Dance and Building in Dialogue: Five Propositions on the Relationship between Trisha Brown’s Choreography and Diller + Scofidio’s Architecture Part IV: Moving HiStories 12 Gabriele Brandstetter On the Margins of HiStories. Trans-fusions Between Document and Performance13 Daniela Hahn "Our method is transmission": The Body as Document in Christina Ciupke’s and Anna Till’s performance undo, redo and repeat (2014)14 Kirsten Maar and Peter Pleyer Visible Undercurrent – New York Berlin 1980/90-2014: Reconsidering Histori/es – Negotiating the NowPart V: Blurring the Document 15 Renate Wöhrer Pictures, Texts, Sounds, Zoo Animals…: On the Materiality of Documents16 Franz Anton Cramer, Sigrid Gareis, and Alexandra Hennig Capturing Dance: A Report on a Project in Artistic Research17 Isa Wortelkamp Unseen: Photography as a Document of Dance History Writing

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