Reprises. On the Phenomenon of Remaining in Dance and Performance
Especially in dance, the aesthetic experience of transience is usually a central phenomenon. The project turns this approach around and sets its focus on what remains of the transitory. In the process, varying strategies of storage and re-enactment are examined that demonstrate a new disposition of remaining in the performing arts: as reconstructions of historic events or as modes of retention within a performance itself. In this case, remnants wander – for example, when choreographers recycle patterns of movement from their own past performances, or when they transfer them into other dispositives such as a museum. Such recycling or spoliation from transience are visible in artistic strategies that are investigated with the methods of performance and movement analysis from theater and dance studies as well as procedures of iconography in procedures from art history.
The result is an art of remaining that develops within a field of tension: the remnants created in an event bring about effects of presence that take place in the respectively unique situations of their appearance and experience. Vice versa, the reprocessing of already existing artistic spoliations create modifications of remaining in the moment of the performed event. And last but not least, the modes of presence and transience in the performing arts should be put into question theoretically, especially when remnants from the past contour moments of perception and “infiltrate” the aesthetic experience as well as the scientific analysis that it is based upon.
Remembering/Forgetting Experience. Audiovisual Recordings as Instruments of Performance Analysis of Music Theatre
In her work titled “Remembering/forgetting Experience“, Cornelia Schmitz examines the possibilities, limits and aporias in the use of audio/visual recordings of music theatre performances. The study’s objective is to sketch a practice of analysis that utilizes the performativity of recordings’ use – as well as the experience of being involved in it – to its own benefit. The work endeavors to redefine the status of audio/visual recordings for performance analysis: away from “documents” of performance’s absent presence, towards instruments that could help in demarcating the gap between the performance and its recording while maintaining the creative processes of remembering and forgetting as dynamics.
Maria Katharina Schmidt
Tracing Quotation. On a Phenomenon of Recurrence in Dance
The project “Tracing Quotation. On a Phenomenon of Recurrence in Dance” focuses on phenomena of citation in dance as a figure of reception and perception, which is based on the spectator’s experience of a Déjà-Vu moment triggered by the dance on stage. These moments of remaining should be understood within this perspective as fragments of ones own memory layered in the present Déjà-Vu moment rather than an intended sampling technique of fragments of past dances from the choreographer’s side. The project’s objective is to contribute to the discourse of strategies of remaining in the performing arts by examining the possibility of the experience of unique temporalities within these moments of citation, beyond the dichotomy of ephemerality versus permanence. In that sense, the project questions the reactivation of past dance inside the ‘live act’ itself.