Awareness: Techniques of Making-Present and Subjective Re-Appropriation of Time in Contemporary Dance

该项目将研究基于意识的身体实践的认知维度，以及它们与当代舞蹈的美学、组织形式和表演形式的关系。通过探究自20世纪60年代以来艺术、治疗、社会政治和经济实践之间的相互渗透，它试图调查哪些身体图像正在以实践形式产生，其认识论依赖于通过实现作为制造-呈现而产生的证据。这项调查脱离了科学模拟的身体与受试者体验到的身体之间的差异，这是一种属于现代生活困境的分裂。基于意识的Bodywork以身体时间的再主体化回应了这一困境，其目的是随着时间的推移将权力归还给现代主体，通过增强和区分注意力来重新占用有限的、短暂的生命。意识被定义为一种制造当下的模式，它同时引导和被引导，意识成为一种重新占用身体时间的工具。在当代舞蹈领域，这种情况尤其发生在全球成功的工作坊形式中。在车间实践中，主观固有时间不是根据一种主要的自我关系构成的，不是归属于主体的；更确切地说，时间的主观属性是从练习室中管理的物理存在中产生的。因此，该项目分析了从身体练习工作坊发展而来的舞蹈表演。这些分析将涉及时间再主体化的意识形态方面，以及其美学、社会和政治潜力。因此，该项目旨在帮助澄清在“适当时间”的“适当”。在对工作坊形式、个体-集体制作-呈现的具体时空性及其对当代舞蹈身体认知的重要性进行评估之后，该项目将详细研究三部作品，在这些作品中，工作坊不仅用于培训和准备，而且在很大程度上有助于产生表演的美学：Deborah Hay的编舞“No Time to Fly”，于2010年在一个持续数月的大型工作坊中完成；研讨会系列»E.X.T.E.N.S.I.O.N.由泽维尔·勒·罗伊（Xavier Le Roy）发起的《S》，在持续了几年之后，于2003年形成了公共表演形式《项目》；“可见的暗流”是由彼得·普莱尔执导，与编舞家梅格·斯图尔特、萨沙·瓦尔兹、杰里米·韦德、楚玛吉子、马克·汤普金斯和伊娃·卡尔恰格以及一群年轻舞者合作开发的表演活动，该活动围绕着2004年连续三个晚上的工作坊和观众展开。

The project will examine the epistemic dimension of body practices based on awareness, and their relations to the aesthetics, organizational forms, and performance formats of contemporary dance. By inquiring into the interpenetration between artistic, therapeutic, sociopolitical and economic practices since the 1960s, it seeks to investigate which images of the body are being produced in forms of practicing whose epistemology relies on evidence generated through realization as making-present. The investigation departs from the discrepancy between the body as modeled by science and the body as experienced by the subjects, a split that belongs to the quandaries of modern life. Bodywork based on awareness responds to this quandary with a re-subjectivation of body time, which aims at returning the power over time to the modern subject, allowing for a reappropriation of finite, fugitive life through an enhancement and a differentiation of attention. Defined as a mode of making-present, which simultaneously channels and is being channeled, awareness becomes an instrument for the reappropriation of body time. In the field of contemporary dance, this happens especially in the globally successful workshop format. In workshop practice, subjective proper time is not constituted in terms of a primary self-relation, to be attributed to the subject; rather, the subjective property of time is being produced from a managed physical presence in a practice room. The project therefore analyzes dance performances that have been developed from body practice workshops. The analyses will address the ideological aspects of a re-subjectivation of time, but also its aesthetic, social and political potential. The project thus aims to contribute to clarifying the »proper« in »proper times«. Following an assessment of the workshop format, its specific spatio-temporality of an individual-collective making-present, and its significance for the body episteme of contemporary dance, the project will examine in detail three productions, in whose case workshops did not only serve for training and preparation but substantially helped to generate the aesthetic of the performances: Deborah Hay`s choreography »No Time to Fly«, developed 2010 in a large-sized workshop lasting several months; the workshop series »E.X.T.E.N.S.I.O.N.S«, which was initiated by Xavier Le Roy and, after being continued for several years, led to the public performance format »Project« in 2003; and »Visible Undercurrent«, a performance event directed by Peter Pleyer, developed in collaboration with the choreographers Meg Stuart, Sasha Waltz, Jeremy Wade, Yoshiko Chuma, Mark Tompkins, and Eva Karczag and a group of young dancers, which centered around a workshop-cum-audience that took place on three consecutive evenings in 2004.