Where can I learn Performance Art
1. Preliminary remark
Bound to the process and the present, Performance Art opens up a space for events that focuses on action and thus also on the body. She applies what she speaks of and that is why her methods are predestined to deal with the other arts. Like hardly any other art form, performance art strives for interdisciplinarity, for example, it seeks to bring visual, musical, dance, action-oriented and even communicative levels equally into play. Since the heyday of Performance Art around 30 years ago, a lot has developed further - in terms of theory formation, practice and, most recently, training. Because the art of performance has long since established itself as a separate art branch and autonomous subject at the academies and has even assumed an independent position in the practice of art education - interestingly at a time in which contemporary arts as a whole are subject to increasing performativity (cf. Seitz 2000).
With a view to the question of how action arts are to be taught and learned, it may be interesting to investigate differences, to demonstrate specific approaches and to analyze and try them out against the background of the respective artistic processes (which have long since become historical) . Because, of course, Performance Art, as it has developed since the middle of the last century, received its different character and versatile orientation also through the influences of the respective "reference arts". It undoubtedly makes a difference whether a performer is more connected to the fine arts, dance, theater or music and is involved in these tools Art of action (Michel de Certeau) or would like to unlearn and forget this ability in favor of everyday life.
Against the background of almost thirty years of testing in the context of performance, I have dealt with various art fields (namely dance, theater and finally also the visual arts) and made their methods usable for an educational interest with different target groups. I thought less about didactics in the narrower sense in this regard, but always about how to get to art and what one can experience and ultimately learn in dealing with it. The role models all come from the artistic field, even if they can no longer be located as a result of the further development of their own, interdisciplinary way of working (with a view to the path discussed here, above all Pina Bausch, recently also Meg Stuart, should be mentioned in the beginning ).
I have spoken about the development and production of performances from the perspective of the visual arts (cf. Seitz 2003a), but also with a view to contemporary theater makers - for example under the heading “Beuys meets Schlingensief or How provocative can an art mediator be” (cf. Since 2004a). In the following I would therefore like to present ways of developing performances at the interface to dance theater - an approach that I took early on (cf. Seitz 1996) and which ultimately also me - through what I called movement aesthetics there brought to performance art.
Elsewhere I have thought about the increasing performativity of contemporary arts (including Seitz 2000/2005), also about how these processes can become productive for artistic communication issues (cf. Seitz 2004b), for educational processes and for teaching and learning at universities as a whole ( see Seitz 1999). Since I have analyzed my own projects with regard to the formation of technical theories and have also described approaches there (cf., among others, Seitz 1998a / 1998b), reference is made to this. At this point, however, a development scheme should be presented, i.e. neither a specific project nor theoretical background should be the focus. Before the ways to the performance become clear, a few thoughts on the theoretical background and on dance theater should nevertheless be presented - in the manner of a foray.
2. Theory splinters
Not only those who are concerned with performance, but also those who think about teaching and learning cannot ignore the body. Whether sitting, standing, walking, laughing, gesticulating - the body is not only an expression, but has also made some impression in it. Spaces, things or people are immediately imprinted, and the attempt to grasp and respond to them can only be an afterthought. Body theorics is the name of dance scholar Susan Foster, which leads us to attach importance to our body actions and movements. Patterns shaped by repetition are used to develop individual or cultural identities. What is performed in the process is initially neither chosen nor invented, but taken over, coagulated and practically “tracked” in the course of countless performative acts. A child presents himself and sometimes even acts powerfully long before he recognizes and identifies himself, before the world becomes meaningful to him through entering the symbolic order of language and before he could express himself consciously. Culture is given to us, including its order, without being asked, and is inscribed in the body. The quasi-alien text may be given to us, but it is not our nature; neither is it passively impressed or impressed, but is actively embodied in repeated performances - only in this way can it become our own at all. And it is precisely these repetitions that are an opportunity for change and variation - not only in individual life, but also for culture, including its traditional values and orders, which alone can renew themselves through this. Because every embodied act is compared and interpreted against the background of already completed inscriptions and, like every theory, they can too body theorics be redesigned. What could be embodied in a performative way can of course also be edited, varied, overwritten, rearranged and given new meaning in a performative way.
An aesthetic practice of the body should be understood against this background. An educational concern that emanates from the body will be interested not only in the inscriptions or personal stories, but especially in their construction. In contrast to a semiotic concern that treats the expressions of the body as readable text, seeks what is favored here pragmatic concerns in particular to research the effects and thereby sharpen perception. He is interested in the influence of the systems of order on / in the body and what z. B. does the language with speaking, the urban system with walking or the eating ritual with the child. But it is also about tracking down what body techniques and everyday practices, conversely, do with the orders, how they are interpreted and interpreted.
A “choreography” sensitized to the constructive constitution of the body inscriptions seeks to find out on the level of action and especially through repetition how the reality of movement and action in the interplay of materiality, embodiment and perception actually appears. If the idea of performativity (as described by J. L. Austin) is that the discourse produces what it says, then the performance seeks to produce what it does, negotiates, suffers as well. It is not about finding new orders; Their chance is to track down ambiguity, divergence, other interpretive patterns and different structures of meaning in the given order. Against this background, performance is definitely work on biographical as well as social material. But it does not primarily appear to raise awareness, let alone to enlighten, and certainly not under therapeutic auspices. Rather, their concern is to find out how the body creates effects and thus reality in action, how this can be perceived and, especially, interpreted and changed in the context of a group event. In this respect she is practicing Art of doing and especially in the Art of perception.
3. The art of reference
Similar to performance art, postmodern dance and dance theater can now look back on a history that goes back more than 30 years. For example, the initiators of the Judson Church Movement, who developed postmodern dance in New York in the 1960s, were more performers than dancers. No ballerina like in classical dance, no role like in the theater, but men and women who move, meet and act. In Germany, the new development was inextricably linked with dance theater and the name Pina Bausch. Her pieces are about people, about the alienation of their forms of communication, the failure of their communication. They bring the small and big dramas, the dreams and small escapes to mind, speak of the desire between man and woman, of closeness that is then unbearable and show what people do to be loved, lead their grandiose ones , ridiculous, comical, tearful self-portrayals before eyes. Bausch has dug himself deep into individual and collective memory. Her dancers expose harrowing abysses, are exuberant, bestial, frozen, speak of their obsessions, of love, of dancer's careers, accidents, childhood memories; they monologue and argue, they recite poems and sing songs and they act. They fall out of character, express their thoughts, sit in the audience, even serve tea and ask viewers whether they like the play, whether you love someone, whether you have children. At Bausch, beauty and appearance are always paired with the adversary: the vital freezes, the smooth becomes a grimace, the whole crumbles into fragments. Her sculptural art spaces, bizarre sound collages, poetic movements are unsettling sensual finds and a deep bow to the human soul. The dance pieces sometimes seem like the superimposition of cyclically circling, but also endlessly meandering events and on the other hand, in a kind of interruption art, seek to spatialize the flow of time as an unreachable event again and again. Perhaps that is why repetition plays such a big role; a man and a woman deliver a whole series of slaps in the face, individual scenes are repeated, are recycled, and finally the entire repertoire (sometimes after more than twenty years) is taken up again. As if, through endless variations of one and the same theme, in repetition and in repetition, something could become something that is not the same, but different.
In its early days in particular, dance theater was exposed to severe criticism: for some it was too little art, for others too much psychodrama, and for others too little social criticism. And despite everything, it has been forgotten that dance is a contemporary art that is valued primarily for its visual value. Like any art, dance theater has always nourished itself from what is in the air. And today things are of course a little different and certainly not in the air. And that is why the material from which the dance dreams of the second generation are woven is also of a slightly different nature - for example with Meg Stuart. What came into play carefully at Bausch is now being taken to extremes: game and reality are no longer opposed to one another like two worlds, but the aesthetic and the social world are completely fused. Sometimes you don't even know whether they're still playing here - at least it's not fiction and the audience sometimes sits in the middle of the picture. If the drama in Bausch still took place between subjects, in Stuart the conflict material no longer even has to do with the subject, but entirely with the body and is carried out on a (completely unpsychological, purely physiological) level of movement and action. The performers are beside themselves, running, dropping, jumping against walls, competing against each other, playing with chance, turning into beasts, getting into intoxicating states. And when they are not out of control, then their bodies radiate a strange emptiness, seemingly bizarre foreignness. In the end, there is no longer even action, but the order of action itself is exhibited. Stuart's performers become characters in a game whose rules they don't know. The subject is alien to itself and can no longer distinguish between alienation (as a technique of showing) and alienation (as a state of being). The gestures, touches, words, as much as they seek resistance in the confrontation with the wall, with the other, with the floor, with the words, do not find it. There is no subject who could oppose the game and its obscure rules - here there is only adaptation to the other. What Stuart shows are orders that have taken over the body.
The art of dance is genuine performative practicein which culture not only presents itself, but also creates it and is thus brought to change; in this sense, dance also generates knowledge and a new form of criticism. More than almost any other art form, contemporary dance is currently able to show what actually happens under globalized, mediatized and aestheticized conditions. Where society is dealing with in a radical way Competition, chance, staging skills and the ability to experience demands, the art of dance not only offers the viewer a field of practice on which (on a trial basis and protected) the handling of competition, instability, loss of identity or meaning can be experienced, but also shows in a seismographic inventory what is actually going on in society and individuals. It not only shows what happens when the four game principles get out of control, but also when the line between game and non-game becomes blurred.
Is it possible to draw knowledge from what has just been sketched, to get suggestions, to peel out ways? Can one learn from such an intuition, can the word and image fragments also become productive for mediation issues? The above forays through theory and art may make the transference to an educational issue seem impossible and the interested reader would rather sink to their knees than they would build up and animate. And yet it should be remembered at this point: Although people eat hot, they are never as hot as they are cooked.
The frame. Every recipe is only as good as the ingredients are and the chef can prepare it tasty - this is the case in culinary art as well as in performance art. And of course there are no recipes for developing performances - more like operations and procedures. Since this is about performative tests and especially about the linking and networking of impulses, which in the end can only be depicted as a model or scheme, we should speak of a matrix here. The term seems appropriate, because it denotes a binding agent (in geology), the chromosome shell (in biology), the stem or origin (in Latin).
The matrix is to be understood here as a spatiotemporal, abstract structure that only becomes vital and a living tableau through the use of its elements. In contrast to a recipe, where many cooks spoil the broth, the matrix lives from the preparatory work and the impulses of many performers. The individuals almost always act at the same time, but the individual action and movement elements (called building blocks here) are individually developed and therefore different from one another - only a few actions are carried out in parallel or in unison. The performers act at the same time, for themselves or with others, whereby the individual elements randomly combine to form a large joint movement collage - according to the motto “together in diversity”. Every element, no matter how small or solo, is perceived as part of the whole event. The tableau therefore requires less work on the actions than on the perception. The point is to present what is happening with open senses and a non-focusing, wandering gaze, to pick up on the impulses of others or to set your own. And that ultimately means learning to perceive.
The attitude. The performers bring something to the representation, more precisely: they bring something (at least on a trial basis) to completion. Their actions are performative insofar as the persons, things or the space do not have a symbolic character (i.e. do not stand for what is absent), but only become perceptible as such through the power of the action. In the manner of a divided attention, the performers immerse themselves in their actions and look at each other - in the perception of the double positionality (Helmuth Plessner) - to a certain extent, giving up the self-centered subject position like someone else. They relate to the phenomenal world and its materiality and experience presence as an atmospheric sense of physicality.
The reduction to the phenomenal being that the performers provoke causes a pluralization of the range of meanings, which in itself creates a tremendous tension. The performers try to reach the limits of their possibilities, to play with chance and risk and to move on unknown terrain. The separation between reality and appearance becomes fluid and with it flow (Mihaly Csikszentmihalyi) finally also the usual social structure and the boundary between me and you - a betwixt and between (Victor Turner), which opens up a transsubjective space and a Outside thinking (Dietmar Kamper) makes possible.
The practice. As part of a diverse aesthetic practice, the matrix has been tested over many years in countless workshops and seminars with students, social workers, in advanced training courses with teachers, university teachers and, of course, also with artists. Much has changed and clarified over the years, some is still pending, e.g. B. Trials with children or adolescents. A workshop usually lasts three days - for larger projects or public performances, this can take considerably more time, depending on the issue. The groups require between 12 and a maximum of 18 players or performers (even if the male form is chosen for the sake of simplicity, both genders are of course always meant in the following explanations).
The work does not require any previous knowledge - of course, the more experienced the group, the richer the opportunities that are gained. In the case of inexperienced players, it is necessary to work out individual building blocks so that each player has a reservoir of options for action from which he can draw and which he can bring into play. Advanced groups do not necessarily have to work out building blocks together and thus prepare the level of action; Their game consists increasingly in getting involved in what is happening, perceiving them, setting impulses, grasping opportunities by hand, improvising alone, in pairs, in a group and thus bringing about surprising and sometimes even risky turns.
The topic. The tableau presented here does not necessarily require a topic. But conversely, it is sometimes interesting to work on a topic with the help of performative methods. So over the years - in the area of further education, at art academies, at the university, at the technical college, etc. - thematically related projects have emerged on topics such as images of women, traps, waiting, time, selling out young people, some of which are also performed come in front of an audience and z. T. have also been described.
A thematic reference sometimes arises from the choice of location, which is not always a seminar room or an educational theater-theater room, but z. B. a tank hall on a former military site, the slope of the Potsdamer Pfingstberg, the garden of a Prussian castle, the ground floor of an empty department store (with large shop windows), the circus tent on a meadow.
The material. The participants bring their own material. For the inexperienced there is usually a requirement, for beginners there is also assistance. Material - it can be a forgotten thing, a valuable, useless, unusual or self-made object, a find that caught your eye on the road on your way home; But it can also be sentences, quotes, texts, audio snippets recorded on cassette, music, pictures, photos, toys, etc. The material brought along is gradually brought into play, integrated into improvised action sequences and thus made part of some building blocks. Gestures, movements, postures are also material that is processed according to the task or rule. Sometimes players are given material or they are all given the same material (a sheet of paper, a stick). Some things are also found at random (get a sentence as a gift, a sentence from a randomly opened book page). Depending on the situation, the working days are sometimes deliberately separated, so that “homework” only arises and after the start (referring to it) is searched for, sometimes also processed - this can be, for example, observation, collecting tasks, even smaller productions and the like . With a thematic reference, it is of course a good idea to bring material with you that corresponds to the topic.
A piece of clothing can also serve as a material (one that has hardly been worn, one that is particularly old, etc.). Otherwise, players are asked to bring comfortable, neutral or black clothing with them. If used at all, music also has a material character and thus only comes into play temporarily and by chance or is used in the background to create atmospheres or to support rhythmic processes.
The improvisation. The matrix is enlivened by the material, which is developed in the form of building blocks in the course of the performance in the form of action and movement sequences according to certain tasks, specifications or rules alone, in pairs, sometimes with the entire group. The matrix does not “rehearse” a performance that is shown at the end, but rather the creation process itself is to be viewed in the broadest sense as part of the performance. The beginning of the workshop is identical to the development of the first building block, which is almost always: walking across the room, stopping, perceiving yourself, the room, the others, moving on, etc. This "neutral walking" is the basis on which the other modules are based. A second task could be: stop, speak the sentence you brought with you and make a gesture; This is then brought into play as a component together with the first; a third building block follows, e.g. B. meticulously looking for something lost, a very small thing, a fourth, z. B. carry the item you have brought with you in a certain way. The players try and finally find a variant that they can bring into play again and again (more or less improvised) - one person carries the object they have brought with them, such as a pearl necklace on their head, the other bends over and puts on his book the back, the third holds the stuffed animal with two fingers, etc.). The principle is always the same: task, testing, decision, building block (more or less) shape, put in the "pot" of the already worked out building blocks, improvise with everyone. The final improvisation (sometimes up to two hours) differs in that no more modules are worked out and the audience is sometimes present.
In the end, each performer may have introduced his building blocks several times and thus repeated actions, but in the interplay and through the simultaneous actions of the other players, new situations, constellations and contexts of meaning arise again and again. The performance field is hard work, but it is undoubtedly a game - more precisely, a group game that follows the principles of the game (described by Roger Callois) Competition, chance, metamorphosis and intoxication kindled (cf. Seitz 2003b). And it is precisely this dynamic of play that structures space and time and ultimately also organizes the progress of improvisation.
The field. In the field available for the performative event there is usually no outside, i.e. the entire initially empty, mostly square space is a play and improvisation area. Later on, islands of material can be created on it, a few chairs can be placed, and the like. - Preferably the area remains as free as possible. Chairs are lined up on a wall according to the number of participants, under which personal items and items brought along are stored. These chairs belong to the event field; even if the players are not "addressed" from there and cannot act themselves. The chair acts like the hola in the catch game, i.e. like a place of rest, which, however, requires absolute body presence and being there despite the observing position.
Neither for the players nor for the spectators (if they are present) there is an explicit observer point of view, since the playing field is oriented in all directions. An overview cannot be obtained from any point in the room. The players are more or less intensely involved, even when they are not doing anything - which is not only allowed on the tableau, but (with the appropriate presence) actually desired.
A limitation and marking of the play area is necessary if it is a work in public space; it is also useful when the audience is present. This then literally stands or sits on the boundaries of the marked space. However, the performance tableau does not necessarily require a stage situation. In the end, the spectators can even move and run around between the performers on the field of action - but this is very challenging for the players, as they have to muster a lot of energy to maintain contact and tension with one another.
The building blocks. The building blocks bring the material (i.e. movement, gestures, material, spatial paths, atmospheres, etc.) into play in a certain way. They function like words in a (foreign) language that is worked out in the course of the workshop and with which the players can also “talk” to one another. The building blocks are named and written down as a reminder for everyone to see. Everyone tries different solutions to a problem and decides on an idea; To define more or less means to choose one of the variants. To stay in the picture: The first block then contains e.g. B. the letters a, d, i, x the second l, e, u, e, r, n, t etc. like these letters, in which order and whether all come into play at the same time, is left to chance or is part of the improvisation. Even if movements are meticulously defined, as is the exception with the “gesture sequence” or the “choir dance”, the challenge is to still come into play with the sequence and to deconstruct it. Since ideas for building blocks should ideally also be invented by the group, the following examples (incidentally also with different degrees of difficulty) are only given for suggestion and for illustration:
Gesture solo: vary a body gesture with the help of the principles of space (up / down, right / left, small / large, etc.), time (fast / slow, stuttering / sliding, etc.), dynamics (pushing / soft, powerful / weak, etc.) and improvise with it;
etude: work out a small solo that contains a body movement, a sentence (or fragment of a song or poem), a posture and locomotion;
From a to B: walk a fixed path in space in a certain way; perceive who crosses the path, who walks parallel etc .;
Run away: try to run away from yourself;
Doing good: do something good for a teammate, comfort him, etc .;
What I can: teach a teammate something, show him what you are good at yourself;
sleight of hand: try (at least partially) to do something you always wanted to be able to do, but which you never succeeded in doing;
history: tell a sad story until someone comes and shakes your hand;
Cheating: get on a chair and scold loudly, get angry about a person, a thing or your own stupidity;
material: bring the material / thing you brought with you into play, develop an etude with it;
Chair game: invent a game with a chair, look for other uses with it;
Test of courage: encourage yourself, convince yourself, claim that you can do the thing;
detective: you followed a stranger to their front door (as homework), tell me what you experienced;
Crazy: you went (as homework) to a public place (cafeteria, street, subway), did something unusual there and observed how people reacted to it; show what you did and describe the reactions;
Stumbling blocks: invent a building block (for yourself, with a partner, with the group) that everyone has to implement;
b) for two:
shadow: follow a player like a shadow in the room (several can do this, so that a kind of chain is created);
Ask: approach a player and ask questions that require a yes / no or also ask for knowledge (absurd, serious, questions from personal, political, geographical, history, etc.); the answer should be short and precise, true or false; the questioner insists (are you sure? why do you say that?);
Lead and follow: ask a fellow player to close his eyes, take him by the hand and lead him through the room;
mirror: stand in front of a player and imitate the movements in mirror image (also works with several);
Ask: ask a teammate to get you off the chair, promise God and the world that he will do it;
Wear: carry another across the room and let him slide gently to the floor;
Pull / push: get into unusual, balancing positions with a partner by releasing the weight: try to get into balance with a player (with exhalation) by pulling (or hanging) (e.g. hand grasps hand, hand grasps foot, hands grasping shoulder , etc.), bring the weight (with the inhalation) back over your own feet and then (with the next exhalation) come into a new position with your partner (e.g. shoulder to shoulder, or back) by applying pressure (weight transfer) on stomach, back to back, etc.);
Double play: seek to start something with a partner (possibly also with three or four) and with the material you have brought with you, find a link, a (wordless) scenario, etc., work out a sequence together;
c) in the group:
What people do: call out an activity word (e.g. laugh, give a speech, freeze, search for something) and represent it; all do this until someone else calls out and presents a new word; the collection closes after a while; the group improvises with the existing words including the actions (in the case of thematic processing, words are collected according to the topic);
Gesture sequence: the gestures of all group members are lined up in a sequence of movements; the group repeats this sequence until a clear form and rhythm emerges and the sequence can be performed by everyone in unison (in the advanced stage, this sequence can then be deconstructed and changed according to the principles of space, time, dynamics);
Choir dance: a choral event in which the group makes a single lunge step in unison (with an arm movement and a tone) in different directions (forwards, sideways, backwards, outwards, towards each other, towards the middle, etc.);
Sculpture: build a body sculpture in the room (or like a frieze) on a wall (if available) in the manner of contact improvisation (i.e. with pressure and tension and appropriate breathing, as described above);
Material field: one player places his thing / material on the playing surface, a second his his, etc. until all objects are placed; by rearranging, new constellations are formed and played with how things can speak to one another and evoke new images.
The rule. The beginning of the workshop marks the game frame: “From now on it's game”. Just as there is no space outside the field, there is no time outside of the performance (apart from the breaks and carefully built-in feedback and meetings). The whole group works, i.e. the players work on the building blocks at the same time, although not necessarily together. As always (and especially here) exceptions confirm the rule. And if the development of individual building blocks requires that the group be divided or the focus e.g. B. is to be pointed at a player, then the performers sit in the hola, but still bear the situation, are not only witnesses, but to a certain extent even "co-producers", which would ultimately also be spectators.
What is developed, found and worked out belongs to performance in the broadest sense; there is no getting to know each other, no preparatory exercises, nothing that has to be learned first (and if so, learning would be a separate component). The requested knowledge is available to everyone; because it is at the level of body knowledge, everyday practices and the body theoricsthat are updated (more or less intensely) with every action, with every movement. There is only an emergency, and paradoxically, it is precisely because of this that fears and inhibitions are lost.
In the course of the work, the building blocks are found and the rules invented how they are brought into play. The latter is mostly left to chance; In individual cases, however, rules can be quite useful so that the improvisation does not stagnate or lose momentum and z. B. By narrowing down the options, additional tension arises (whoever stands on the chair cannot end up alone, but has to be brought down, or if someone calls out a word from “What people do”, everyone has to interrupt what they are doing and join in until a new one Word comes or someone calls "end").
The instruction. The development of such a tableau naturally depends on the art of guiding and accompanying it and also providing impulses and suggestions (at an advanced stage, participants can do this too). If necessary and especially at the beginning, at the same time as the testing of the modules, possibilities for further processing, deepening, variation, unfamiliar links, risky phrases are named. The challenge for the participants is not to take up all the proposed ideas, but only those that advance their own design. Especially in inexperienced groups, the leader is part of the tableau, works and improvises with and is able to control the situation through his play and word impulses (albeit limited) and to force the approaches to play. In the best case, the leading voice acts like a sound carpet from which the players extract individual notes and thus continue improvising until an idea gradually emerges and the building block (more or less repeatable) forms. The field of events hardly differs from a successful music improvisation: the more inexperienced the players are, the more has to be worked out; For experienced players, it is sometimes enough to agree on the key and otherwise listen to each other.
Overall, only so many building blocks are worked out that enough material is available and the improvisation creates versatility, but so few that the building blocks are penetrated in detail, executed with great intensity and full of tension and unfamiliar possibilities are also created.
The finds. "And again and again I get knocked down and get up again," Simone suddenly hears herself say; and Jessika, while throwing the stones she had brought with her, the sentence slips: “Again, whoops!” Kerstin has sunk into working out her étude, suddenly sees the others, looks around in amazement and says: “Suddenly there are so many people in front of mine Eyes". Such statements and situations cannot be thought up, not even that Katja suddenly remains alone while improvising on a “time project”, in the course of which even a (fake) time laboratory was created, while everyone else is on the hola chairs sitting and thus have taken the position of participating observer. Katja waits and starts (this is her new game) to look at the other players one after the other and holds this eye contact wordlessly and at the limit of the bearable for almost five minutes. The situation, which was tense to the breaking point, only dissolves when she asks Anna to come to her and help her. Scenes that can hardly be described arise when Michael z. B. plays Mikado with the sticks that you have brought with you and when you lift it suddenly calls out the names of your fellow players and throws away one chopstick after the other; when Claudia, combing her long hair, suddenly hears herself say: "What I think of myself, I will be too!" or when Thorsten, to the surprise of everyone, sticks a huge smile (made of paper) on his mouth or Judith does not end wants to run their circles, but suddenly stops to run again immediately.
The intensity in the performance field cannot be established. It arises from the idiosyncratic game dynamics to which the actions and movements are exposed and which are spurred on by repetition and new connections. And sometimes there are literally magical moments in which the concentration is so dense that simultaneity arises, the group z. B. finds oneself in choir dance, comes to rest on its own for a moment, or even comes to an end.
5. Post Comment
Such paths to performance make the basic condition of human action as an intertwining of equality and Diversity can be experienced, as Hannah Ahrendt described it for the gathering in public space. Despite different positions and heterogeneous attitudes, the performers ultimately direct their actions towards a world common to all. Because of the eccentric position, you can watch yourself while you see the others at the same time. That is also the reason why, unlike the theater, the performance does not necessarily need an audience. The strange entanglement of the gaze between inside and outside that comes into play, this one Chiasm (Maurice Merleau-Ponty) allows the performers to feel connected despite their separate lives. In the end, it is possible to demonstrate the limitations of the individual and at the same time to expand it through joint action - the autonomy of the actions makes difference, their interconnectedness, however, connectedness and ultimately the power of cooperation tangible.
The tableau described is a place of the highest abstraction, as it is at the same time integrated into a pragmatic everyday life that brings both seriousness and serenity into play. The proposed matrix functions like a kind of map on which the players mark their territories, find long-forgotten places, remember gestures and stories and link them again. Because the story is not behind us, but within us. The body practices are there before we are even aware of them. It is the practices that know. The happening sometimes seems strange and as if guided by an invisible hand - body theorics in action, in search of meaning, with most of it remaining in space as illegible signs and indissoluble remnants and therefore full of tension. The body is literal Creator of atmospheres (Gernot Böhme). In this respect, it leaves less of a definite or definable expression on the performer himself and also on the other players than an indefinable impression.
Ultimately, everyone works towards the common idea and pursues it - paradoxically, however, such an idea is not named, more precisely: there is no idea. Even if there is no such thing, it is by no means excluded that everyone is concerned with it. This is because everyone ties in with the other in the firm belief that they know where to go. In a state of extreme uncertainty, the idea does exist after all - it comes about when you follow the movement. And that is why the performance tableau creates less concrete meaning than meaning. Such action establishes the connection to something that remains in the balance, that one cannot acquire, do not know and, as a rule (and initially) cannot name, either. Dealing with the matrix presented here ignites an economy of gift and provokes an excess of meaning that ultimately makes difference tangible. What is earned, moved, negotiated, wasted, danced to pieces, transformed, tracks down the gaps in the given order and tries to give them new meaning.
In a field of flexible relations and changing conditions, navigating skills are required, the ability to link events, create temporary constellations, and realize selective collaborations. Thinking here means feeling for the way and thus being awake and present. In the end, this is the kind of perception that counts. And ultimately you can learn from it for life. All performers “write” on the choreography as they “read” it in actu - the building blocks may be introduced repeatedly and sometimes even (more or less) defined as a sequence of actions or movements, but in the end there is of course nothing of that what happens repeatable. Each recording conveys temporary events in the here and now, which are only ever unique, especially in the context of group events. In the context of these explanations, which provide a matrix and therefore do not want to present a specific project, these considerations cannot be deepened (and therefore reference is also made to the further literature). Only so much should be said at this point that the body and action knowledge that comes into play is available to everyone, but does not belong to anyone. And that is why it cannot ultimately be conveyed, but only remembered or re-embodied and thus experienced again. In the repetition, a new way of dealing with things, with space and with others is finally possible. The matrix may provide the appropriate framework for this; for this purpose, the impulses from dance and movement theater can also provide the material. The performative path seeks to choose from a reservoir of possibilities in order to shape realities from them, to bring them into play with others in order to bring about change and experience transformation. Finally, it is about the (re-) regaining of an aesthetic competence, as it is mostly unconscious at the level of body memory, but which is available to the individual. In addition, the simultaneous and sometimes also joint work in the group brings a gain in experience for the subject that should not be underestimated, a challenge to the communicative abilities of the individual and an increase in community feeling and an experience of communitas.
The ways to performance may use artistic methods, and yet - this should be emphasized at the end - the aesthetic practice mentioned here claims to be less art than that it is primarily an experience, knowledge and Want to provide space for experimentation, which literally artistic processes for your own trials second hand.
A work of art may be based on rules, but of course (Paul Klee already formulated this) rules do not constitute a work of art. And of course every rule is only as good as it can be cunningly circumvented. In response to the Austin-inspired question "How to do things with acts?" Finally and in a nutshell, I would answer precisely and without further ado with the following rule, which is no longer so puzzling: Follow the motion, repeat persistently, perceive continuously, be with the other, provoke change and find out! Events in a square.
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