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Choreographing Problems Choreographing Problems Performance Philosophy Series Editors: Laura Cull (University of Surrey, UK), Alice Lagaay (Universität Bremen, Germany) Freddie Rokem (Tel Aviv University, Israel) Performance Philosophy is an emerging interdisciplinary field of thought, creative practice and scholarship. The Performance Philosophy book series comprises monographs and essay collections addressing the relationship between performance and philosophy within a broad range of philosophical traditions and performance practices, including drama, theatre, performance arts, dance, art and music. The series also includes studies of the performative aspects of life and, indeed, philosophy itself. As such, the series addresses the philosophy of performance as well as performance-as-philosophy and philosophy-as-performance. Editorial Advisory Board: Emmanuel Alloa (University of St. Gallen, Switzerland), Lydia Goehr (Columbia University, USA), James R. Hamilton (Kansas State University, USA), Bojana Kunst (Justus-Liebig University Giessen, Germany), Nikolaus Müller-Schöll (Goethe University Frankfurt am Main, Germany), Martin Puchner (Harvard University, USA), Alan Read (King’s College London, UK) Laura Cull & Alice Lagaay (eds) ENCOUNTERS IN PERFORMANCE PHILOSOPHY (2014) Broderick Chow & Alex Mangold (eds) ŽIŽEK AND PERFORMANCE (2014) Will Daddario & Karoline Gritzner (eds) ADORNO AND PERFORMANCE (2014) Forthcoming titles: Stuart Grant, Jodie McNeilly & Maeva Veerapen (eds) PERFORMANCE AND TEMPORALISATION (2014) Mischa Twitchin (author) THE THEATRE OF DEATH: THE UNCANNY IN MIMESIS (2015) Published in association with the research network Performance Philosophy www.performancephilosophy.ning.com Palgrave Studies in Modern European Literature Series Standing Order ISBN 978–1–137–40739–9 (hardback) (outside North America only) You can receive future titles in this series as they are published by placing a standing order. Please contact your bookseller or, in case of difficulty, write to us at the address below with your name and address, the title of the series and the ISBN quoted above. Customer Services Department, Macmillan Distribution Ltd, Houndmills, Basingstoke, Hampshire RG21 6XS, England Choreographing Problems Expressive Concepts in European Contemporary Dance and Performance Bojana Cvejic´ © Bojana Cvejic´ 2015 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted her right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2015 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN 978–1–137–43738–9 This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin. A catalogue record for this book is available from the British Library. A catalog record for this book is available from the Library of Congress. Typeset by MPS Limited, Chennai, India. Contents List of Figures and Tables vii Series Preface ix Acknowledgements xii Abbreviations xiii Introduction 1 Works of choreography and contemporary dance 4 Choreography and performance 11 Choreographic performance after Deleuze: expressive concepts 14 Rupture of the body-movement bind 17 Performance beyond disappearance: making, performing, and attending 22 Structure and method 25 1 Problems and Expressive Concepts 28 Thought beyond recognition 31 The logic of expression 41 Problems and Ideas 46 Expressive concepts 54 Making, performing, and attending 62 2 Disjunctive Captures of the Body and Movement 73 Self Unfinished: part-bodies 75 It’s In The Air: part-bodies, part-machines 83 Nvsbl: partitioning and adequation between movement and sensation 87 3 Theatrical Apparatuses of Disjunction 96 What is the apparatus of theatrical representation? 97 Subtractions within the theatrical apparatus 102 Head-box: an apparatus of flight and containment 105 De-figurement of the stage 114 Assemblings of bodies and things 117 Wiring spectators 120 4 Exhausting Improvisation: Stutterances 127 Improvisation in lack of philosophy 128 v vi Contents The holistic ground of improvisation 131 Still grounded in knowledge: improvisation as composition 138 Ungrounding possibilities 142 The Weak Dance of stutterances 148 To repeat and to rehearse 153 5 A Critical Departure from Emotionalism: Sensations and Affects in the Mode of Performing 160 Binding movement with emotion, kinesthesia with empathy 162 Affect and sensation in Spinoza and Deleuze 166 50/50: the problem of composing affects 171 Constructing expressions 174 Defacing the self in a solo 184 Power-motion and crisis-motion 188 6 During and After Performance: Processes, Caesuras, and Resonances 195 Process in performance studies 196 Duration, process, and becoming 199 It’s In The Air: processes of a constructed continuum 203 Composition as a distribution of intensities 206 Nvsbl: durations outside of the sensorimotor present 208 Molecularization and memory 211 Self Unfinished: caesuras in becoming 214 Cut-endings 218 Implicating the attender with resonance 220 A Post Hoc Conclusion: An Expanse of Choreography 225 Notes 232 Select Bibliography 238 Index 253 List of Figures and Tables Figures 1 Still images from the video recording of Self Unfi nished © Xavier Le Roy/in situ productions, 1998 76 2 Still image from the video recording of Self Unfi nished © Xavier Le Roy/in situ productions, 1998 77 3 Still images from the video recording of Self Unfi nished © Xavier Le Roy/in situ productions, 1998 78 4 Still images from the video recording of Self Unfi nished © Xavier Le Roy/in situ productions, 1998 80 5 Nvsbl © Eszter Salamon/Botschaft Gbr, 2006. Photography © Alain Roux 89 6 Nvsbl © Eszter Salamon/Botschaft Gbr, 2006. Photography © Alain Roux 93 7 héâtre-élévision © Boris Charmatz/Edna Association, 2003. Photography © Anna van Kooij 106 8 héâtre-élévision © Boris Charmatz/Edna Association, 2003. Photography @ Marie-Lou Burger 108 9 Still image from the video recording of Untitled © Xavier Le Roy/in situ productions, 2005 119 10 Still image from the video recording of Untitled © Xavier Le Roy/in situ productions, 2005 122 11 Weak Dance Strong Questions © Jonathan Burrows Company, 2001. Photography Hermann Sorgeloos 147 12 Weak Dance Strong Questions © Jonathan Burrows Company, 2001. Photography Hermann Sorgeloos 147 13 Weak Dance Strong Questions © Jonathan Burrows Company, 2001. Photography Hermann Sorgeloos 150 14 50/50 © Mette Ingvartsen/Great Investment, 2005. Photography © Peter Lenaerts 176 vii viii List of Figures and Tables 15 50/50 © Mette Ingvartsen/Great Investment, 2005. Photography © Peter Lenaerts 182 16 Trajectory of displacements in Mette Ingvartsen’s 50/50, B.C. 183 Tables 1 Overview of compositional parameters in Mette Ingvartsen’s 50/50, B.C. 192 Series Preface This series is published in association with the research network Performance Philosophy (http://performancephilosophy.ning.com/), which was founded in 2012. The series takes an inclusive, interdiscipli- nary and pluralist approach to the field of Performance Philosophy – aiming, in due course, to comprise publications concerned with perfor- mance from a wide range of perspectives within philosophy – whether from the Continental or Analytic traditions, or from those which focus on Eastern or Western modes of thought. Likewise, the series will embrace philosophical approaches from those working within any discipline or definition of performance, including but not limited to, theatre, dance, music, visual art, performance art and performativity in everyday life. In turn, the series aims to both sharpen and problematize the defini- tion of the terms ‘performance’ and ‘philosophy’, by addressing the relationship between them in multiple ways. It is thus designed to support the field’s ongoing articulation of its identity, parameters, key questions and core concerns; its quest is to stage and re-stage the boundaries of Performance Philosophy as a field, both implicitly and explicitly. The series also aims to showcase the diversity of interdisciplinary and inter- national research, exploring the relationship between performance and philosophy (in order to say: “This is Performance Philosophy.”), whilst also providing a platform for the self-definition and self-interrogation of Performance Philosophy as a field (in order to ask and ask again: “What is Performance Philosophy?” and “What might
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