english
Out Now: Performing Arts in Transition. Moving between media. Edited by Susanne Foellmer, Maria Katharina Schmidt, Cornelia Schmitz © 2018 – Routledge
Descrition:
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.
Artikel bei Campus Leben vom 14.10.2015: „Vergangenheit mit Zukunft. Tanz- und Theaterwissenschaftlerin Susanne Foellmer und ihre Mitarbeiterinnen forschen zu Archivierungsmöglichkeiten in den Darstellenden Künsten“
Susanne Foellmer
“Das Archiv als situative Anordnung” (The Archive as Situative Arrangement), in: Bexte,Peter/ Bührer, Valeska/ Lauke, Sarah (eds.): An den Grenzen der Archive, Berlin: Kadmos, 2016, p. 93-110 (Buchkapitel)
“ÜberReste. Strategien des Bleibens in den Darstellenden Künsten” (On Remnants and Vestiges. Strategies of Remaining in the Performing Arts), in: Cairo, Milena/ Hannemann, Moritz/Haß, Ulrike/ Schäfer, Judith (eds.), Episteme des Theaters (Epistemology of Theatre), Bielefeld: transcript, 2016, p. 349-353 (Buchkapitel)
“Bewegungen des Bleibens. Bildlichkeiten des Momenthaften im Tanz” (Remaining Motions. Iconicities of the Instant in Dance), in: Kelter, Katharina/ Skrandies, Timo (eds.), Bewegungsmaterial. Produktion und Materialität in Tanz und Performance (Movement Material. Production and Materiality in Dance and Performance), Bielefeld: transcript, 2016, p. 327-351 (Buchkapitel)
“‘Fake it!’ Dokument und Museum als Behauptungsfiguren in Performance und Tanz” (Document and Museum as Figurations of Predication in Performance and Dance), in: Hahn, Daniela (ed.), Beyond Evidence. Das Dokument in den Künsten (The Document in Art), Munich: Fink, 2016, p. S. 155-169 (Buchkapitel)
“Kipp-Momente: Bildkritik als Praxis der historischen Tanzavantgarde am Beispiel Valeska Gerts” (Tilting Effects. Iconographic Critique as Practice of the Historic Avant-garde Exemplified By Valeska Gert), in: Jahn, Tessa/ Wittrock, Eike/ Wortelkamp, Isa (eds.), Fotolabor: Tanz 1900-1920. Methodologische und historiografische Reflexionen von Tanzfotografie (Photographic Laborartory: Dance 1900-1920. Methodological and Historiographic Reflections on Dance Photography), Bielefeld: transcript, 2016, p. 150-163 (Buchkapitel)
„Re-Play. Wie kann man vergangene Tanzereignisse wiederholen? Eine Begriffsbestimmung“, in: Jahrbuch der Zeitschrift Tanz, August/September 2014.
„Re-Cyclings. Shifting Time, Changing Genre in the Moving Museum“, in: Dance Research Journal Vol. 46, Special Issue 3, Dezember 2014, S. 101–107. (peer reviewed)
„Re-Enactment und andere Wieder-Holungen in Tanz und Performance“, in: Frédéric Döhl/Renate Wöhrer (Hg.): Zitieren, Appropriieren, Sampeln. Referenzielle Verfahren in den Gegenwartskünsten, Bielefeld: transcript, 2014, S. 69–92.
„Between Image and Volatility. Framing Motion in Dance and Film“, in: Jörg Sternagel/ Deborah Levitt/Dieter Mersch (Hg.): Acting and Performance in Moving Image Culture: Bodies, Screens, Renderings, Bielefeld: transcript, 2012, S. 291–301.
Im Erscheinen
“How Performance Repeats Itself. On the Presence of Remainders in the Performing Museum”, in: Crawley, Marie-Louise et.al. (ed.), Body ^ Space ^ Object ^ Memory ^ Identity, Basingstoke/UK: Palgrave Macmillan, im Erscheinen (2017) (Buchkapitel)
“What Remains of the Witness? Testimony as Epistemological Category: Schlepping the Trace”, in: Franko, Mark (ed.): The Oxford Handbook of Dance and ReEnactment, Oxford University Press, im Erscheinen (2017) (Buchkapitel)
Editor of On Leftovers (together with Richard Gough), Performance Research Journal, No. 22(8), im Erscheinen (Dez. 2017)
„Bewegungen des Bleibens. Bildlichkeiten des Momenthaften im Tanz“, in: Kelter, Katharina/Timo Skrandies et al (Hg.): Bewegungsmaterial. Beiträge zu einer Bildtheorie des zeitgenössischen Tanzes, Düsseldorf: Düsseldorf University Press, im Erscheinen (2016).
„Testimonial Remainders: On the Transfer of Know-How in Reconstruction and Re-enactment“, in: Mark Franko (Hg.): Handbook of Danced Re-Enactment, Cambridge University Press, im Erscheinen (2016).
