“Dramaturgy in contemporary dance is a hybrid construct to which dance theory and practice ascribes the most widely varying responsibilities and areas of competence. The often implicit structural division into a text-based, effect-oriented dramaturgy and a shaping, movement-technique choreography is unsustainable, neither in a historiography of dance nor in the contemporary staging and performative practices of contemporary art. The theatrical “as if” and the performative “how” have been circulating since the Renaissance around the (re)presentation of dance in all historical formations in variations and various constellations. I can give no answer to the question “what is contemporary dance dramaturgy?” Long, combined research and rehearsal processes with choreographers such as João Fiadeiro, Vera Mantero or Milli Bitterli have a different intensity and energy than my selective, focused meetings with creators of dance in projects such as the Factory Season Denkmal. Both are of equal value in my analysis of contemporary dance, as both point to different function areas of dance dramaturgy. In the second phase of the dramaturgy seminar I do not want and cannot give any “guidelines for action”, but rather seek to discuss production-dramaturgical methods and composition techniques during and/or after rehearsal processes with interested choreographers and dancers. It will not be me setting the rules of the rehearsal-acting to which I will be invited by the choreographers. I see myself as a guest (not as a voyeur, critic or third eye) who brings and contributes experiences, associations and advice.”
-Nicole Haitzinger
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