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

本研究的目的是概念化的编舞机构的审美和政治。它的核心问题涉及精心设计的身体的美学机构和文化功能，它们通过参与恢复的和隐藏的力量来激活溶解和过度的形式--越轨。这些（再）呈现的艺术行为以精确的感知技术和美学程序为特征，这些技术可以为身体，动作，空间和凝视提供能量，这是该项目的主要兴趣。本研究的主要目的是区分运动和知觉的复杂技术，这些技术作为知觉的战略政治，将表征事件转化为由超越身体和场景的特定方式引发的充满活力的力场。本研究将以跨学科的研究方法，从现代、后现代及当代的动作与身体理论、舞蹈技巧及舞蹈作品中，探讨舞蹈的审美特征，涵盖舞蹈事件、表演及装置等不同的艺术形式。作为狂喜，欲望，疲惫和经济化的充满活力的形象，该项目分析了这些美学方法，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。 在“能量化”的概念下，这些精心设计的形象在其媒介和中介策略中被审查，这些策略由启动能量过程的潜力所限定。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策略。该项目是组织沿着三个历史时刻[1920-40，20世纪80年代，当代艺术立场的开始，21世纪世纪]。它涉及以下领域，所有这些领域迄今为止都没有得到学术界的关注：鲁道夫·冯·拉班的努力理论，20世纪80年代的舞蹈和编舞，基于装置的编舞（i.a.威廉·福赛斯）和当代舞蹈作品。作者：Doris Uhlich和Margrét Sara Guelyjónsdóttir。我的研究是在戏剧和舞蹈研究领域，因此我的研究目标是一个跨学科的概念。我的研究将编舞的拓扑概念扩展为写作，提出了对编舞的审美学理解，以便将注意力集中在空间和时间内身体的变革星座上，以及将身体和场景组织为精确平衡和感知的战略政治的（重新）呈现。我的调查反映了这些特定的舞蹈星座在其戏剧功能，并提出了一个模型的transcorporality是由批判性文化分析的角度。其目的是为戏剧和舞蹈研究开发一种分析移动，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.