Transgressions: Energetic Processes of body and sceneEnergetic forces: Studies on Choreography as the art of transgression

这项研究旨在概念化编排身体的姿态和政治。它的核心问题涉及精心编排的身体的审美机构和文化功能，这些身体通过利用取回的和隐藏的力量来激活溶解和过度的形式--越轨。这些(重新)呈现的艺术行为以精确的感知技术和审美程序为特征，使身体、动作、空间和凝视充满活力，是该项目的主要兴趣。这项研究的主要目的是区分复杂的运动和感知技术，这些技术被用作感知的战略政治，将表征事件转变为由特定的超越身体和场景的方式引发的能量力场。按照跨学科的方法，这项研究将追踪现代、后现代和当代动作和身体理论、舞蹈技术和舞蹈作品中舞蹈的美学特征，包括舞蹈活动、表演和装置等不同的艺术形式。作为狂喜、欲望、疲惫和节俭的精力充沛的形象，该项目分析了这些以激活和引导力量、恢复或扭曲力量为标志的运动和舞蹈过程的美学方法。这些精心编排的形象被归入“激发能量”的概念中，并以启动能量过程的潜力为条件，检验了它们的中间和调解策略。这项研究考虑了20世纪和21世纪的美学立场，这些立场暴露了身体的延伸，以及溶解和过度的戏剧性策略。该项目按照三个历史时刻[1920-40年代，20世纪80年代，21世纪初的当代艺术立场]来组织。它涉及以下领域，到目前为止，所有这些领域都没有得到学术上的关注：鲁道夫·冯·拉班的努力--20世纪80年代的理论、舞蹈和编排，基于装置的编排(I.A.威廉·福赛斯)和当代舞蹈作品。作者：Doris Uhlich和Margrét Sara Guçjonsdóttir。我的研究定位于戏剧和舞蹈研究领域，因此，我的研究旨在对编舞提出一个跨学科的概念。我的研究扩展了作为写作的编排的拓扑学概念，提出了对编排的神学理解，以便将注意力引导到空间和时间内的身体的变革性星座，以及将身体和场景组织为精确平衡的战略性感知政治的(重新)呈现。我的研究反映了这些特定的编舞星座在戏剧功能上的表现，并提出了一个基于批判性文化分析的跨公司模式。其目的是为戏剧和舞蹈研究开发一个分析移动、感知和(重新)呈现身体的模型。

The research aims at conceptualizing the aisthesis and politics of choreographed bodies. Its central question concerns the aesthetic agencies and cultural functions of choreographed bodies, which activate forms of dissolution and excess - transgressions - by engaging both retrieved and hidden forces. These artistic acts of (re-)presentation characterized by precise techniques of perception and aesthetic procedures that operate to energize body, action, space and gaze are the project's main interest. The study's main objective is to distinguish the complex techniques of movement and perception employed as strategic politics of perception which turn the event of representation into an energetic force field initiated by specific ways of exceeding body and scene. Following a transdisciplinary approach, the research will trace aisthetic signatures of the choreographic in modern, postmodern and contemporary theories of movement and body, dance techniques and choreographic works, encompassing such different artistic formats as dance event, performance and installation. Distinguished as energetic figurations of ecstasy, desire, exhaustion and economization the project analyzes these aesthetic approaches to movement and choreographic processes marked by activating and channeling forces, the recovery or distortion of forces. Subsumed under the notion of 'energizing', these choreographed figurations are examined in their medial and mediating strategies qualified by the potential to initiate energetic processes. The research considers 20th- and 21st-century aesthetic positions that expose extensions of the body and theatrical strategies of dissolution and excess. The project is organized along the lines of three historical moments [1920-40, 1980s, contemporary artistic positions of the beginning of the 21st century]. It addresses the following areas, all of which have so far received little scholarly attention: Rudolf von Laban's Effort-Theory, dance and choreography of the 1980s, installation-based choreographies (i.a. William Forsythe) and contemporary dance works i.a. by Doris Uhlich and Margrét Sara Guðjónsdóttir. Situated in the field of theatre and dance studies, my research thus aims a transdisciplinary notion of the choreographic. Expanding a topological notion of choreography as writing, my research proposes an aisthesiological understanding of the choreographic in order to direct attention to the transformative constellation of bodies within space and time, and to the (re-)presentations that organize body and scene as precisely balanced and strategic politics of perception. My investigation reflects these specific choreographic constellations in their theatrical functions and proposes a model of transcorporality that is informed by the perspective of critical cultural analysis. The aim is to develop for theatre and dance studies a model of analysis of moving, perceiving and (re-)presenting bodies.