Kapitel in diesem Buch

1. Frontmatter 1
2. Contents 7
3. Preface: Choreography as Social Practice 11
4. 01.00 The Selected Works and Their Artistic Field
5. 01.01 The Staging Process – An Object of Research? 15
6. 01.02 The Black Box of the Theatre and the White Cube of the Museum 18
7. 01.03 The Common Working Scheme: The Rosas Dance Company 21
8. 01.04 On Dance History: Freedom? in Choreographic Design 22
9. 01.05 Selecting the Staging Processes 25
10. 01.06 Staging Processes in Dance and Performance: A Historical Outline 31
11. 01.07 Collaborative Formats as Seducers 37
12. 02.00 Towards a Production-Aesthetic Approach
13. 02.01 Production-Aesthetic Perspectives in Dance and Theatre Studies 41
14. 02.02 Performances, Staging Processes and Social (Inter)actions 58
15. 02.03 Individuum: The Other Side of the Singular Plural 70
16. 03.00 Research Questions: Three Perspectives
17. 03.01 The First Perspective: Theatre Studies and Art History 91
18. 03.02 The Second Perspective: Choreography as 1, 2, 3...Singular Plurals 92
19. 03.03 The Third Perspective: Against the Backdrop of Real Life 96
20. 03.04 Co-Sense – A Basis of Alternative Authorship? 100
21. 04.00 Methodology for a Sociological Perspective
22. 04.01 Defining the Core (of the) Team 103
23. 04.02 Divisional Writing and Collective Creativity 104
24. 04.03 Participation: Evolving Along a Greyscale 105
25. 04.04 The Tripartition Method 106
26. 04.05 Degrees in Participation and the Question of “Power” 114
27. 04.06 A Sense of One’s Place 117
28. 04.07 Bourdieu’s Theory of Capital in Relation to My Study 118
29. 04.08 The Social Space Model 132
30. 04.09 Different Types of Capital...and Their Interpretation 135
31. 04.10 Escaping Determinism 138
32. 05.00 “Reportable Portraits”
33. 05.01 Research Scope: La communauté desoeuvrée 141
34. 05.02 Counteracting the Traditional Narrative: The CVs of the Participants 144
35. 05.03 Conception Phase: A Starting Point Is Not a Starting Point 153
36. 05.04 Rehearsal Phase 154
37. 05.05 Reformulation and the Notion of “sens de circulation” 180
38. 05.06 Social Space: Frictions and Antagonisms 185
39. 05.07 Evaluating the Working Scheme and Social Space Diagrams 186
40. 05.08 Social Networks: A Further Perspective 193
41. 05.09 Micro-Habitus 196
42. 05.10 Media Phase: Internal Discourse 199
43. 05.11 Media Phase: Reportable Portraits from an Outside Perspective 206
44. 05.12 Between Co-Sense (Mit-Sinn) and the Singular 209
45. 05.13 Authorship and Symbolic Capital 211
46. 06.00 “Collect-if by Collect-if”
47. 06.01 Reversing the Narrative 215
48. 06.02 Depicting the Social Space of Collect-if by Collect-if 229
49. 06.03 Conception Phase, Without Concept 235
50. 06.04 Between All Chairs: Audition 237
51. 06.05 Rehearsal Phase: The Starting Point and Its Difficulties 241
52. 06.06 No Goal? 257
53. 06.07 Social Space Diagram and Workers’ Self-Organisation 260
54. 06.08 Media Phase: The Necessities of Retrievability 265
55. 06.09 A “Remainder” That Cannot Be Fully Grasped... 271
56. 07.00 “Retrospective”
57. 07.01 Undoing Authorship(s) 275
58. 07.02 Un/Presentable(s) – Non-Human Participants 283
59. 07.03 Conception Phase: A Singular Being a Plural 300
60. 07.04 Rehearsal Phase: The Sequences Selected 304
61. 07.05 Media Phase: Questions of Authorship(s) 338
62. 08.00 Synopsis
63. 08.01 Three Guiding Research Perspectives 349
64. 08.02 A Priori Questions 349
65. 08.03 First Perspective – – – A Historical Outline 352
66. 08.04 Second Perspective: An Ontological Reading 356
67. 08.05 Third Perspective: Sociological Enquiry 358
68. 08.06 Co-Sense: A Basis for a New Concept of Alternative Authorship? 365
69. 08.07 Conclusion and Outlook 369
70. 09.00 Bibliography 371
71. 10.00 Table of Illustrations 383