Gabriele Brandstetter Livres

Touch is a fundamental element of dance. The (time) forms and contact zones of touch are means of expression both of self-reflexivity and the interaction of the dancers. Liberties and limits, creative possibilities and taboos of touch convey insights into the ‘aisthesis’ of the different forms of dance: into their dynamics and communicative structure, as well as into the production and regulation of affects. Touching and Being Touched assembles seventeen interdisciplinary papers focusing on the question of how forms and practices of touch are connected with the evocation of feelings. Are these feelings evoked in different ways in tango, Contact improvisation, European and Japanese contemporary dance? The contributors to this volume (dance, literature, and film scholars as well as philosophers and neuroscientists) provide in-depth discussions of the modes of transfer between touch and being touched. Drawing on the assumptions of various theories of body, emotion, and senses, how can we interpret the processes of tactile touch and of being touched emotionally? Is there a specific spectrum of emotions activated during these processes (within both the spectator and the dancer)? How can the relationship of movement, touch, and emotion be analyzed in relation to kinesthesia and empathy?

Contributions by Gertrud Koch, Bruce Mau. Text by Aleida Assman, Jan Assman, Gabriele Brandstetter, Friedrich Kittler, Andra Lepecki, C. Nadia Seremetakis.

»Le Sacre du Printemps/Das Frühlingsopfer« von Pina Bausch ist in diesem interdisziplinären Band der gemeinsame und die Texte verbindende Analysegegenstand, um zentrale methodische Zugänge der bewegungs- und tanzwissenschaftlichen Forschung aufzuzeigen. Der in einer überarbeiteten und ergänzten Neuauflage erscheinende Sammelband stellt kultur-, sozial- und geisteswissenschaftliche Perspektiven auf Bauschs Jahrhundertchoreografie vor und dient so als methodische »Werkzeugkiste« der tanzwissenschaftlichen Forschung im deutschsprachigen und angelsächsischen Raum. Mit Beiträgen von Peter M. Boenisch, Gabriele Brandstetter, Stephan Brinkmann, Michael Diers, Mark Franko, Stephanie Jordan, Gabriele Klein, Dieter Mersch, Gerald Siegmund, Hans-Georg Soeffner, Jürgen Raab und Christina Thurner.

Dance and drawing are intimately linked to the gesture that performs them. The dancing body creates a figure in space and leaves an impact on site, while the action of the artist sets a point into motion and captures an ephemeral event, which is then reproduced in graphic or visual form.Throughout the 20th century, the performing and visual arts have converged on many occasions. As artists investigated the embodied and energetic value of form, dancers and choreographers experimented with the interfaces between sign and action, between annotation and improvisation, between a spatial sense of self and an architectural configuration of movement.The hybridization of dance and drawing speeded up from mid-century onward, as performance art introduced innovative practices and as borders between disciplines were worn thin, causing interdisciplinary forms to emerge.These encounters are the focus of this volume, a collection of original essays and interviews in which the accounts of theoreticians and practitioners echo each other. It aims to evaluate and discuss the specific interaction of the two media and how their practices have diversified since 1962, namely since the first public performance of the Judson Dance Group in New York.This book follows, I Love Thinking on my Feet. Dance and Drawing Since 1962, an international symposium held at the Geneva University in 2012.(French edition also available 9783037644706).

As performative and political acts, translation, intervention, and participation are movements that take place across, along, and between borders. Such movements traverse geographic boundaries, affect social distinctions, and challenge conceptual categorizations - while shifting and transforming lines of separation themselves. This book brings together choreographers, movement practitioners, and theorists from various fields and disciplines to reflect upon such dynamics of difference. From their individual cultural backgrounds, they ask how these movements affect related fields such as corporeality, perception, (self-)representation, and expression.

This publication investigates the interplay between dance and the visual arts in relation to one of the key works of the 20th century, „Le Sacre du printemps“ (The Rite of Spring). Igor Stravinsky's „Le Sacre“ was premiered in 1913 by Diaghilev's Ballets Russes, with choreography by Vaslav Nijinsky at the Théâtre des Champs Elysées in Paris, and to this day it is considered the most controversial theatrical presentation of the 20th century. With its revolutionary music and choreography, the piece can be seen as one of modernism's groundbreaking moments. The ballet (in which a virgin sacrifices herself for the god of spring and dances herself to death) still fascinates visual artists today and is the most choreographed ballet ever. * * Exploring the ballet, its context, and its history in a wide variety of ways, this anthology also includes a rare selection of „Le Sacre“ dance documentation. * * With contributions by Eleanor Antin, Marc Bauer, Dara Friedman, Millicent Hodson/Kenneth Archer, Karen Kilimnik, Xavier Le Roy, Marko Lulic, Royston Maldoom, Sara Masüger, Vaslav Nijinsky, Silke Otto-Knapp, Christodoulos Panayiotou, Yvonne Rainer/Babette Mangolte, Lucy Stein, Alexis Marguerite Teplin, Julie Verhoeven, and Mary Wigman, among others. * * Published with Migros Museum of Contemporary Art, Zurich, in collaboration with the Center for Movement Research (ZfB) at Freie Universität Berlin/Gabriele Brandstetter.

Both the identity of dance and that of theory are at risk as soon as the two intertwine. This anthology collects observations by choreographers and scholars, dancers, dramaturges and dance theorists in an effort to trace the multiple ways in which dance and theory correlate and redefine each other: What is the nature of their relationship? How can we outline a theory of dance from our particular historical perspective which will cover dance both as a practice and as an academic concept? The contributions examine which concepts, interdependencies and discontinuities of dance and theory are relevant today and promise to engage us in the future. They address crucial topics of the current debate in dance and performance studies such as artistic research, aesthetics, politics, visuality, archives, and the "next generation."

Das Erbe des Schweizer Theaterreformers Adolphe Appia beeinflusst bis heute zahlreiche Künstler. Seine Reformen führten zu einem Ikonoklasmus, indem er die traditionelle Kulissenbühne und deren perspektivischen Code zugunsten eines Systems der ›szenischen Module‹ verwarf. Eine wesentliche Neuerung war die Betrachtung von Raum und Bewegung – und damit von Szenographie und Choreographie – als interdependent. Der Raum und die Körper der Akteure wurden in Wechselwirkung mit Musik, Rhythmus und der technischen Innovation des elektrischen Lichts als ›lebendige Kunst‹ inszeniert. Fast ein Jahrhundert später untersucht der vorliegende Band erneut Appias Erbe, insbesondere in Bezug auf die Arbeiten namhafter Künstler wie Robert Wilson und William Forsythe. Dabei wird die Frage aufgeworfen, in welcher Weise sein Vermächtnis weiterhin künstlerisch relevant ist und welchen Stellenwert es im Kontext neuer Medientechnologien sowie der interdisziplinären Debatte um den Raum (›spatial turn‹) einnimmt. Beiträge aus Theater- und Tanzwissenschaft, Musikwissenschaft, Bildwissenschaft, Architektur- und Medientheorie sowie Stimmen von Künstlern aus Tanz, Musik, performativer Installation, Mixed Media und Netzkunst beleuchten diese Fragen.