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Concepten En Objecten Theater Topics Is Een Jaarlijkse Publicatie Over Onderzoek in En Naar Theater Concepten en objecten THEATER TOPICS Onder redactie van Maaike Bleeker, Lucia van Heteren, Chiel Kattenbelt & Rob van der Zalm AMSTERDAM UNIVERSITY PRESS Concepten en objecten Theater Topics is een jaarlijkse publicatie over onderzoek in en naar theater. Elk nummer brengt onderzoek bijeen rond een specifiek thema. Het doel is om enerzijds lopend onderzoek grotere zichtbaarheid te geven en anderzijds, door middel van de themati- sche opzet, het onderzoek nieuwe impulsen te geven. Theater Topics richt zich daarbij in de eerste plaats op onderzoek dat plaatsvindt binnen de Nederlands/Vlaamse context. Theater Topics is een initiatief van de leerstoelgroep Theaterwetenschap van de Univer- siteit van Amsterdam, de afdeling Kunsten, Cultuur en Media van de Rijksuniversiteit Groningen, de opleiding Theater-, Film- en Televisiewetenschap van de Universiteit Utrecht en het Theater Instituut Nederland en wordt uitgegeven door Amsterdam University Press. Redactie Theater Topics: Maaike Bleeker Lucia van Heteren Chiel Kattenbelt Christel Stalpaert Rob van der Zalm Eindredactie: Alice Breemen Theater Topics is a yearly publication dedicated to research in and into theatre. Themati- cally organized, each issue centers around a different subject. Theater Topics presents a platform for current research, while aiming to stimulate new developments. Theater Topics is oriented first and foremost towards the Dutch and Flemish context. Theater Topics is an initiative of: Department of Theatre Studies, University of Amster- dam; Department of Arts, Culture and Media, University of Groningen; Institute of Theater, Film and TV Studies, University of Utrecht; and the Theater Instituut Neder- land (TIN). Theater Topics is published by Amsterdam University Press. Concepten en objecten Onder redactie van: Maaike Bleeker, Lucia van Heteren, Chiel Kattenbelt en Rob van der Zalm Amsterdam University Press Deze publicatie is tot stand gekomen met steun van: de afdeling Kunsten, Cultuur en Media van de Rijksuniversiteit Groningen; de leerstoelgroep Theaterwetenschap van de Universiteit van Amsterdam, de opleiding Theater, Film- en Televisiewetenschap van de Universiteit Utrecht en het vakgebied Theaterwetenschappen van de Universiteit van Gent. Ontwerp omslag/coverdesign: Studio Jan de Boer BNO, Amsterdam Vormgeving binnenwerk/lay-out: Het Steen Typografie, Maarssen isbn 9789053565216 e-isbn 9789048501250 Amsterdam University Press 2009 Alle rechten voorbehouden. Niets uit deze uitgave mag worden verveelvoudigd, opgeslagen in een geautomatiseerd gegevensbestand, of openbaar gemaakt, in enige vorm of op enige wijze, hetzij elektronisch, mechanisch, door fotokopieën, opnamen of enige andere manier, zonder vooraf- gaande schriftelijke toestemming van de uitgever. All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written per- mission of both the copyright owner and the author of the book. Voor zover het maken van kopieën uit deze uitgave is toegestaan op grond van artikel 16B Auteurs- wet 1912 jº het Besluit van 20 juni 1974, Stb. 351, zoals gewijzigd bij het Besluit van 23 augustus 1985, Stb. 471 en artikel 17 Auteurswet 1912, dient men de daarvoor wettelijk verschuldigde ver- goedingen te voldoen aan de Stichting Reprorecht (Postbus 3051, 2130 KB Hoofddorp). Voor het overnemen van gedeelte(n) uit deze uitgave in bloemlezingen, readers en andere compilatiewerken (artikel 16 Auteurswet 1912) dient men zich tot de uitgever te wenden. All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written per- mission of both the copyright owner and the author of the book. Inhoud: Concepten en objecten Inleiding: Concepten en objecten Lucia van Heteren 7 Interactivity Wolf-Dieter Ernst 15 Sporen zoeken Over de ‘politics of location’ in Sporenonderzoek van Dries Verhoeven Liesbeth Groot Nibbelink 26 Immersie in de schouwburg door emersie op de scène Robrecht Vanderbeeken 38 Strange Loops as Cognitive Refuge for Analogical Thought in the Theatre and Beyond Christophe Collard 51 Theater, video en kristallisering van de tijd Sigrid Merx 61 The Dumbfounded Participatory Spectator: The Power of Failure in Contemporary Performance Christel Stalpaert 71 Ik kijk dus ik beweeg Kinesthetisch invoelen als een vorm van betrokkenheid bij het kijken naar dans Liesbeth Wildschut 84 Intracultural Dialogue as a Conceptual Frame for Community Performance Eugène van Erven 96 Inleiding: concepten en objecten Lucia van Heteren In de afgelopen decennia hebben theaterwetenschappers, mede als gevolg van het steeds interdisciplinairder worden van de kunstpraktijk, geworsteld met de vraag in welke richting de analyse van theater gezocht moet worden. Patrick Campbell leidt zijn poging in Analysing Performance (1996) in met de woorden: ‘It is scarcely surprising then (...), when the performing arts pose more questions than answers, more strategies than univocal messages, and when representations of the real and the imaginary no longer seem separable (…) that these essays should mirror a collective state of mind that is speculative and interlocutory. What is performance? How do we analyze it? And write about it? How do the live arts function in a culture where the public is assailed by images yet taught to respect words? What is real outside representation? How do we represent the body in performance? How do we bring new theoretical perspectives to perfor- mance analysis?’ (Campbell, 1996, p.2) Sandra Kemp expliciteert in dezelfde bundel, in navolging van Andrew Benjamin, dat ‘Platonic philosophy brings to art an interpreta- tive strategy, a set of expectations about mimesis and representation, that no longer makes sense of what art (and the experience of art) may be.’ (Kemp, 1996, p.154) Alan Read constateert in Theatre and Every Day Life. An Ethics of Performance: ‘I consider the- atre to be an almost infinitely redefinable arrangement of human expressions which are conscious, physical, verbal and witnessed. (...) The theatre is a heterogeneous prac- tice and lacks a critical language which can deal with such variety. An experimental and conceptual understanding of everyday life may reintroduce the contexts of theatre in more subtle and varied ways than theatre currently allows.’ (Read, 1993, p.ix). De verwarring die al enkele decennia woedt, is er in de laatste tien jaar niet minder op geworden. Theatermakers verkennen de grenzen van het artistieke domein, negeren conventies, experimenteren met technologie en brengen de toeschouwer en de reflec- tant in verwarring. Theaterwetenschappers en critici doen pogingen de ontwikkelin- gen te duiden, te analyseren en op een of andere wijze inzichtelijk te maken. De immer in beweging zijnde theaterpraktijk nodigt uit tot het bekijken van nieuwe invalshoeken en herzien van bestaande benaderingen. Reinelt en Roach onderschrijven die noodzaak tot voortdurende herbezinning in hun in 2007 grondig herziene uitgave van hun oorspronkelijk in 1992 uitgebrachte Cri- tical Theory and Performance. Waar bijvoorbeeld begin jaren negentig van de vorige eeuw semiotiek en fenomenologie nog een aparte status kregen als onderzoeksrichting 7 binnen de theaterwetenschap, constateren zij dat deze richtingen vijftien jaar later teruggebracht kunnen worden tot een subcategorie onder de wel erg algemene paraplu ‘voorstellingsanalyse’. De auteurs verleggen de focus en ruimen plek in voor aan- dachtsgebieden als Postcolonial Studies en Critical Race Studies; ze verbreden de aan- dacht voor feminisme, dat in de jaren zeventig en tachtig van de vorige eeuw sterk ge- richt was op kritische reflectie op man-vrouwrolpatronen en het doorbreken van re- en presentatiemodellen van het lichamelijke in voorstellingen; en ze benadrukken het belang dat anno 2007 gegeven moet worden aan het genderperspectief en seksualiteit in een bredere context. Interdisciplinaire ontwikkelingen hebben geresulteerd in het ontstaan van Performance Studies en krijgen bij Reinelt en Roach een eigen hoofdstuk. En de technologische ontwikkelingen van de laatste jaren zijn zo ingrijpend en voltrek- ken zich zo snel dat geen enkele theaterwetenschapper daar meer omheen kan. Of zo- als Reinelt en Roach stellen: ‘(…) the burgeoning influence of technological innovation has made serious theorizing of the virtual and the global a necessary part of what we do.’ (Reinelt and Roach 2007: xi) De interdisciplinaire ontwikkelingen, maar veel meer nog de invloed van nieuwe media en technologie in theater en de rol van de toeschouwer, zijn een rode draad gebleken in dit alweer vierde deel van de serie Theater Topics. Als redactie van de serie hebben we als doel: het bieden van een forum aan onderzoekers in en naar theater in de brede zin van het woord. Voor dit deel, met de titel Concepten en objecten, kozen we als vertrekpunt de stellingname van Mieke Bal in haar Travelling Concepts in the Humanities (2002): ‘Interdis- ciplinarity in the humanities, necessary, exciting, serious, must seek its heuristic and methodological basis in concepts rather than methods.’ In haar verkenning van onder- zoek in het interdisciplinaire veld constateert Bal dat de systematische
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