Collaboration between artists has been practised for centuries, yet over recent decades the act of collaborating has taken different meanings. This publication examines cultural, philosophical and political issues tied to specific instances of collaborative practice in the performing arts. Leading scholars and practitioners review historical developments of collaborative practice and reveal what it means to work together in creative contexts at the beginning of the twenty-first century. Key questions addressed include how artists are developing new ways of working together in response to…mehr
Collaboration between artists has been practised for centuries, yet over recent decades the act of collaborating has taken different meanings. This publication examines cultural, philosophical and political issues tied to specific instances of collaborative practice in the performing arts. Leading scholars and practitioners review historical developments of collaborative practice and reveal what it means to work together in creative contexts at the beginning of the twenty-first century. Key questions addressed include how artists are developing new ways of working together in response to contemporary economic trends, the significance of collaborating across culture and what opportunities are apparent when co-working between genres and disciplines. Noyale Colin and Stefanie Sachsenmaier present these perspectives in three thematic sections which interrogate the premises of collective intentions, the working strategies of current practitioners, as well as the role of failure and compromise in collaborative modes of creative work. This volume is an invaluable resource for scholars, practitioners and those interested in contemporary artistic methods of working.
Noyale Colin is a lecturer and the course leader of the BA (Hons) Dance programme at University Campus Suffolk, UK. She has worked as a performer and choreographer in the United States and Europe. Her current research examines the politics of co-working in contemporary performance making. Stefanie Sachsenmaier is Senior Lecturer in Theatre Arts at Middlesex University, UK. With a background as a performer and tai chi practitioner, her research interests centre on the processual in creative practice.
Inhaltsangabe
1. Introduction: Collaborative Performance-Making in Context; Noyale Colin & Stefanie Sachsenmaier PART I: PREMISES 2. Contemporary Collaborations and Cautionary Tales; Simon Murray 3. Collaboration, Temporality and Post-Fordism; Bojana Kunst 4. Collaboration, Democracy and the Total Artwork; Alexandra Kolb 5. I want to work with you because I can speak for myself: The Potential of Postconsensual Collaboration in Choreographic Practice; Martina Rusham 6. Ten Propositions for Research-Creation; Erin Manning PART II: WORKINGS 7. Since each of us was several: Collaboration in the context of the differential self; Laura Cull 8. Collaboration as a Mode of Labour; Noyale Colin 9. The Author of the Gift -The Practice of Authorship; Tim Jeeves 10. Asking 'What is Collaboration?' on Behalf of Jerzy Grotowski; Kris Salata 11. Te Kore and the encounter of performance; Carol Brown and Moana Nepia 12. Rowing to Hilversum Double Vision in Performance and Architecture; Pedro de Senna, Caroline Bowditch, David Bower 13. Rowing to Hilversum Double Vision in Performance and Architecture; Forster and Heighes PART III: FAILURE 14. Positive Negatives or the subtle arts of compromise; Susan Melrose 15. Messy Bits; Emilyn Claid 16. Productive misapprehensions Artscross as a cross-cultural collaborative zone of contestation of contemporary dance practice; Stefanie Sachsenmaier Index
1. Introduction: Collaborative Performance-Making in Context; Noyale Colin & Stefanie Sachsenmaier PART I: PREMISES 2. Contemporary Collaborations and Cautionary Tales; Simon Murray 3. Collaboration, Temporality and Post-Fordism; Bojana Kunst 4. Collaboration, Democracy and the Total Artwork; Alexandra Kolb 5. I want to work with you because I can speak for myself: The Potential of Postconsensual Collaboration in Choreographic Practice; Martina Rusham 6. Ten Propositions for Research-Creation; Erin Manning PART II: WORKINGS 7. Since each of us was several: Collaboration in the context of the differential self; Laura Cull 8. Collaboration as a Mode of Labour; Noyale Colin 9. The Author of the Gift -The Practice of Authorship; Tim Jeeves 10. Asking 'What is Collaboration?' on Behalf of Jerzy Grotowski; Kris Salata 11. Te Kore and the encounter of performance; Carol Brown and Moana Nepia 12. Rowing to Hilversum Double Vision in Performance and Architecture; Pedro de Senna, Caroline Bowditch, David Bower 13. Rowing to Hilversum Double Vision in Performance and Architecture; Forster and Heighes PART III: FAILURE 14. Positive Negatives or the subtle arts of compromise; Susan Melrose 15. Messy Bits; Emilyn Claid 16. Productive misapprehensions Artscross as a cross-cultural collaborative zone of contestation of contemporary dance practice; Stefanie Sachsenmaier Index
1. Introduction: Collaborative Performance-Making in Context; Noyale Colin & Stefanie Sachsenmaier PART I: PREMISES 2. Contemporary Collaborations and Cautionary Tales; Simon Murray 3. Collaboration, Temporality and Post-Fordism; Bojana Kunst 4. Collaboration, Democracy and the Total Artwork; Alexandra Kolb 5. I want to work with you because I can speak for myself: The Potential of Postconsensual Collaboration in Choreographic Practice; Martina Rusham 6. Ten Propositions for Research-Creation; Erin Manning PART II: WORKINGS 7. Since each of us was several: Collaboration in the context of the differential self; Laura Cull 8. Collaboration as a Mode of Labour; Noyale Colin 9. The Author of the Gift -The Practice of Authorship; Tim Jeeves 10. Asking 'What is Collaboration?' on Behalf of Jerzy Grotowski; Kris Salata 11. Te Kore and the encounter of performance; Carol Brown and Moana Nepia 12. Rowing to Hilversum Double Vision in Performance and Architecture; Pedro de Senna, Caroline Bowditch, David Bower 13. Rowing to Hilversum Double Vision in Performance and Architecture; Forster and Heighes PART III: FAILURE 14. Positive Negatives or the subtle arts of compromise; Susan Melrose 15. Messy Bits; Emilyn Claid 16. Productive misapprehensions Artscross as a cross-cultural collaborative zone of contestation of contemporary dance practice; Stefanie Sachsenmaier Index
1. Introduction: Collaborative Performance-Making in Context; Noyale Colin & Stefanie Sachsenmaier PART I: PREMISES 2. Contemporary Collaborations and Cautionary Tales; Simon Murray 3. Collaboration, Temporality and Post-Fordism; Bojana Kunst 4. Collaboration, Democracy and the Total Artwork; Alexandra Kolb 5. I want to work with you because I can speak for myself: The Potential of Postconsensual Collaboration in Choreographic Practice; Martina Rusham 6. Ten Propositions for Research-Creation; Erin Manning PART II: WORKINGS 7. Since each of us was several: Collaboration in the context of the differential self; Laura Cull 8. Collaboration as a Mode of Labour; Noyale Colin 9. The Author of the Gift -The Practice of Authorship; Tim Jeeves 10. Asking 'What is Collaboration?' on Behalf of Jerzy Grotowski; Kris Salata 11. Te Kore and the encounter of performance; Carol Brown and Moana Nepia 12. Rowing to Hilversum Double Vision in Performance and Architecture; Pedro de Senna, Caroline Bowditch, David Bower 13. Rowing to Hilversum Double Vision in Performance and Architecture; Forster and Heighes PART III: FAILURE 14. Positive Negatives or the subtle arts of compromise; Susan Melrose 15. Messy Bits; Emilyn Claid 16. Productive misapprehensions Artscross as a cross-cultural collaborative zone of contestation of contemporary dance practice; Stefanie Sachsenmaier Index
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