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识维度，以及它们与当代舞蹈的美学，组织形式和表演形式的关系。通过探讨自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，它试图调查身体的哪些图像正在以实践的形式产生，其认识论依赖于通过实现作为制造-呈现而产生的证据。调查偏离了科学模拟的身体和主体体验的身体之间的差异，这是一种属于现代生活困境的分裂。基于觉知的身体工作以身体时间的重新主体化来回应这一困境，其目的是将时间的力量归还给现代主体，允许通过注意力的增强和分化来重新占用有限的、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，成为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。在工作坊的实践中，主观的适当时间并不是根据主体的主要自我关系来构成的;相反，时间的主观属性是从实践室中有管理的物理存在中产生的。因此，该项目分析了从身体练习讲习班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“适当的时间”。在评估了工作坊的形式、其个人-集体呈现的特定时空性及其对当代舞蹈身体知识型的意义之后，该项目将详细研究三个作品，在这些作品中，工作坊不仅用于培训和准备，而且大大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;由Xavier Le Roy发起的系列研讨会»E.X.T.E.N.S.I.O.N.S«，在持续了几年之后，于2003年推出了公共表演形式»项目«;由Peter Pleyer执导的表演活动“Visible Undercurrent”，与编舞Meg Stuart、Sasha Waltz、Jeremy Wade、Yoshiko Chuma、Mark Tompkins和伊娃Karczag以及一群年轻舞者合作开发，以2004年连续三个晚上举行的研讨会暨观众为中心。

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.