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Text of the page (random words):
h scenes from the performances of living theatre performance group even from some of judson dance theatre performances have also transfigured into a hidden matrix of self expression appearing in the format of solo work or communal improvisation set ups today individualist self expression makes a fetishist aura of dance in western society and what was your experience what did you feel what did you learn from it what kind of openings did it create for you the interrogations we so often hear reflect both the spectator s and the performer s new age like occupation with the individual self the individualism of artistic or cultural producers especially in the corporeal outfit of the dancer is moreover the admirable capital of the values such as creativity complexity mobility flexibility or innovation it is the individual and not the collective enterprise of performance which inspires the figure of the contemporary worker in the context of neo liberalism does s he belong to the frame of collectivity or community today inoperative community the networking the political history of community a word forgotten or reserved for the european community more than twenty years ago shows that community emerges as a term more appropriate than communism was fifteen years after may 68 when the french leftist intellectuals brought forth the subject of collectivity again in 1983 the editor of the magazine aléa jean christophe bailly proposes the topic of community la communauté le nombre the collapse of communism was met with a liberal response that involves an eager repression of the very question being in common which so called real communism repressed under a common being nancy 2000 43 but in neo liberalism we do enjoy a being together if you like what we have in common is commerce and communication in one word the network networking provides the illusion of surpassing the boundaries of local professional community and breaking into the international field of the discipline contemporary performance such a mechanism can be illustrated by the well known cartoon and metaphor willy the coyote and the roadrunner as i discussed with a group of makers at the tanzquartier s lab on research in april 2003 the coyote tirelessly chases the bird over the flat boundless surface of the desert keeping always the same never to be bridged distance from the bird until he flips over a cliff the end of the road he never dies just leaves the full imprint of his body at the bottom of the abyss the desert expands in a movement of deterritorialization each action generating a fresh re departure and a line of flight only measured by the inventiveness and speed of movement according to this see saw model research happens when it breaks a new ground that can potentially develop into a field http www republicart net 2 and the sudden break of the chase marking the fall from the cliff the inevitable pull force of the community the localization drags the fleeting individual down into personal history and cultural and political contexts of regulation the field is not just a plane of consistency as the popular deleuzian discourse would have it in effect it is represented by networks of venues festivals research labs flying programmers showcase platforms online criticism platforms etc in one word the institutional market on which makers are invited to seek a niche for a desirable commodity the only tactic of resisting the institutional market for the freelance artist is to become the mediating machine him herself producing productivity and a self governed networking his her work shifts to a multiplication of activities contacts formats of work collaboration and presentation allowing for the work in progress character to take on almost his her entire opus a working without work the kind of immaterial labor the artist undertakes is to either operate in self organized conditions of working together with other self organizing artists independently of the supply demands and opportunities artistic venues provide or produce the production of one individual self as the spectacular commodity in the institutional market the latter shapes the immaterial production as information in the form of a performative promise i am a project of myself where the works of performances are taken as temporary unfinished previews of a project in process the freelance artist in order to pursue a so called independent position in the institutional market is forced to commune with the programmer his her material producer on the grounds of this promise but if s he steps out of this relationship as i propose in the former tactic s he is to organize her his own field in cooperation with other artists and cultural producers which necessarily involves transforming and mobilizing a community into something based more on the need to collaborate a frame of collectivity whether operated by state or private funded apparatuses or hacked by a free entrepreneurial self of the author the artistic community likens a community without project and end product communauté desoeuvrée where desoeuvrement inoperativess and idleness should be understood in politico ethical terms community is a given fact rather than an agency of mobilization for there is nothing to mobilize for collectively the demands which brought performance artists to new experimental frames of working in the 60s are now fulfilled there are networks supporting experimental work the urge to experiment and go cross disciplinary is no longer transgressive the then pressing concern for collaboration arose from the climate of political and social movements calling for cooperation however for the artist to act as her his own producer rather than the self produced commodity of the programmation s he is to redefine and reconstitute collaboration and production beyond the needs for individual self affirmation self determination and the question of art labour in the types of collectivity and collaboration practiced today dominates an instrumental logic artistic affinity plus instrumentally rational needs to collaborate a saturating number of theatre groups actors collectives without directors such as tg stan dood paard de roovers t barreland sprung in the low countries under the influences of the then innovatory practices of maatschappij discordia organized a system of circulation independent of city theatre repertory houses they represent a sustainable model for continuous collaboration that does not question its foundation and methodology or seek political or social action on the other hand contemporary programmation favors a star system matching of authors like meg stuart and gary hill jan ritsema and jonathan burrows jérôme bel and forced entertainment whereby the phenomenon of temporary productive contact is http www republicart net 3 motivated by an exchange of different specialities so as to hopefully arrive at something new unknown third to the respective disciplines of collaborators however the encounters between established authors can be intriguing in themselves they are primarily stimulated by taste and box office measurement of the programmer the more collaboration is spoken of the more it is lacking symptomatic of crisis says myriam van imschoot we shouldn t forget that collaboration doesn t undermine the aura of the artist but it multiplies it van imschoot 17 18 collectivity and collaboration thus no longer appear as viable models of experimentation and critique as they are already subsumed under the institutional order and a cultural policy trend however it is criticality as an antiessentialist stand that has formed a new common and shared perspective in the choreography of the 90s jérôme bel xavier le roy tino sehgal mårten spångberg have developed a non affirmative focus on strategies and tactics in which the spectator is confronted with the displacement of dance as an aesthetic and modernist phenomenon and object the spectator is forced to deal with his her own disposition to receive choreography as a writing of a performative text these choreographers have contributed to a distinct type of authorship based on discursive intervention or the effect of disturbing the spectacle of performance one thing is certain they are doing it alone i want to stress this work can only be done by the author of concept alone at most these authors share a community of discourse out of which collaborations can spring occasionally even conceptualize the contractual basis of authorship such as the performance xavier le roy commissioned and signed by bel and realized by le roy but there is no need for collectiveness as such to help establish the sovereignty of these authorial interventions confined to the object dance and theatre spectacle these critical practices target the 19th century theatre goer by producing the meaning of a work in self reference and self determination the power of self determination in the concept of dance could be potentially transformative if it also applied to the frame of working production and presentation at this moment it is capable of articulating something like a speech act this is performance this is choreography assuming the role of analytical or critical self interpretation similar to the conceptualism in visual art so far it produces open flexible and contingent definitions of dance and critique in how we are habituated to perceive it but it remains dependent on internal medium specific matters of dance because operating in the institutional context of theatre makes its critique bound to the theatre dispositif would the circularity of conceptual methodology be broken through if authors collaborated on the exchange and confrontation of concepts risking their constructions such a framework would allow but not force production of contacts not in terms of progressive searching for new phenomena like contact improvisation but as an opportunity for singular connections frictions mutations between independent agents experimentation which demands readiness to disown one s intentions or materials because one isn t primarily concerned with establishing his her authorship what could be the conditions for such a collectivity of authors as well as its specific difference to the frames of collaboration we know of today i ll conclude this text with four points redefining such collectivity in its potential there is a growing number of performance practitioners engaged in experiments and new concepts of performance theatre and choreography as usual there are always a number of participants gathering around a project http www republicart net 4 what is the importance of the number increasing the number of people involved in interaction even if only from two to three qualitatively alters the situation what are the qualities of interaction that could result from working outside labor market requirements and cultural policy orientation there is no pre given sense essence identity or meaning for which to collect or mobilize with ideological confidence fair enough decisive here is the idea of an inessential commonality a solidarity that in no way concerns an essence we can exemplify solidarity when our differences are the commonality we trust nancy says we do not have meaning anymore because we ourselves are meaning nancy 2000 1 we could only stand for the circulation of possibilities resistances and experiences of limits when differences between one another are constitutive for collaboration so for us or to be able to say we there is only something like this phenomenon taking place the taking place in other words signifies a contact of singularities and the law of touching in this contact is not fusion but separation it is the heterogeneity of surfaces that touch each other heterogeneity that stimulates further heterogenesis and not homogenization under the responsibility of one or the attraction to one author but the virtual taking place needs a space that would allow production and experimentation without the theatre dispositif hovering above it should we transform institutions studios performing spaces into resource centers or platforms for working rather than presenting the fourth term to rethink collaboration in terms of undesired contacts that we isn t unison but taking responsibility for relations with in working with one another with no compromise of tolerance but sustaining the differential in contact we as with wants to push for a bit of violence for the desire in persisting in a process whereby irreducible and not desirable and manageable differences are productive for new configurations of working a process whereby no overarching conception should provide safety to a prior self regulation perhaps redefining the working with frame taking this condition rather than the autonomous self validating concepts by individual author has the power of becoming a starting point for experimental collaboration a collaboration between authors one thinks that such collectivity would better be called collection if it is defined by a number of working with one another ones without an essence a question would be how a collection of authors performers without one author initiator comes together it s not merely a technical question as it puts forward a more important concern what might be worth doing together in dance and performance vis à vis society today works cited or consulted giorgio agamben potentialities collected essays in philosophy trans daniel heller roazen stanford ca stanford 1999 _______ the coming community trans michael hardt minnesota ma university of minnesota press 1993 sally banes terpsichore in sneakers post modern dance with a new introduction new haven ct wesleyan unievrsity press 1987 _______ greenwich village 1963 avantgarde performance and the effervescent body duke university press durham and london 1993 ursula biemann ed geography and the politics of mobility generali foundation vienna 2003 http www republicart net 5 julian beck and judith malina paradise now collective creation of the living theatre new york random house 1971 walter benjamin the author as producer in reflections essays aphorisms autobiographical writings trans edmund jephcott new york schocken books 1978 maurice blanchot la communauté inavouable paris les éditions de minuit 1983 ramsay burt dance history and political relevance maska performing arts journal ljubljana vol xviii no 5 6 pp 8 10 collect if by collect if collect if bojana cvejic ed ugo dehaes alix eynaudi emil hrvatin rebecca murgi katarina stegnar varinia cantovila ljubljana maska 2003 context 1 february 19 28 2004 in haueins zwei drei hebbel am ufer michel foucault what is author essential works of foucault 1954 1984 aesthetics london penguin books 2000 pp 205 22 charles green the third hand collaboration in art from conceptualism to postmodernism minnesota university of minnesota press 2001 brian holmes maps for the outside u ursula biemann ed geography and the politics of mobility generali found...