The End of Choreography at Cue Positions

I'm giving a short polemic on The End of Choreography at Cue Positions: A Symposium by BELLYFLOP on 23 Nov in session 3 from 2-5pm at Chisenhale Dance Space. Please see here for the full programme and how to book tickets for the 2 day event (22 & 23 Nov).

Screen Tests I (2013)

with

Stephanie McMann & Flora Wellesley Wesley

Stella Dimitrakopoulou & Else Tunemyr

Will Jennings & Jeanne Gargam

Nina Feldman & James-Paul Kelly

Jonny Blamey & Simon Glendinning

Kuo-Chieh Liang & Daniel Cabrero

Martine Painter & Helena Webb

Ellen Sieber & Nina Windisch

Helka Kaski & Clare Daly

Krista Nella Martina Vuori & Wayne Alan Summerbell

----

Music by

The Velvet Underground & Nico

I’ll Be Your Mirror

The Fairest Of The Seasons

These Days

For the full collection please go to Screen Tests (2013)

After the Future: A Homage to Bifo (Video)

Concept and Video: Antje Hildebrandt 
Choreography and Performance: Stella Dimitrakopoulou & Franco 'Bifo' Berardi

Screen Test (Renouncement)

Choreographer: Antje Hildebrandt 
Performers: Stephanie McMann and Flora Wellesley Wesley

PhD Conference - Call for Papers

INTERACTIVITY/INTERPASSIVITY

20^th – 21^st June 2013

5^th Annual Research Student Conference in Art & Design
Centre for Art, Design, Research and Experimentation
University of Wolverhampton

Interactivity can be defined as communication between two humans and/or artefacts, forces acting upon or in close relation with each other or, more critically, the displacement of activity onto another while the subject remains passive. Conversely, in such a setting, interpassivity can be defined by the displacement of the subject’s passivity onto another, whereby the role of audience is occupied by the object or performer itself. The relations between art object or performance and audience can thus be seen as a mediation between interactivity and interpassivity, whereby the manner of engagement becomes a negotiation of the very nature of participation.

This two day interdisciplinary conference for postgraduate researchers will explore the ways in which interactivity and/or interpassivity occur, intersect and mediate within and between disciplines. The conference seeks to locate interactivity and interpassivity in a variety of media to both confront notions of engagement, relationality and aesthetics and expose the role of the art object or performance occurrence in producing and utilising interactivity and interpassivity. This will foster a discussion of issues that are fundamental to the research of creative practitioners and theorists across the boundaries of artistic medium or academic discipline.

CALL FOR PAPERS

Proposals are invited for 20-minute papers.

Suggested topics include, but are not limited to:

Locations of activity within a given discipline
Mediation and passivity in the role of the object/performer
Narratives of relationality in the social engagement of art
Transference and objecthood within current research/practice
Dynamics of subjectivity in historical perspectives of interactivity/interpassivity

Please send abstracts of 250 words to cadre@wlv.ac.uk by 6^th May 2013.

CALL FOR EXPRESSIONS OF INTEREST

Proposals are invited for art works in any medium and from any discipline for inclusion in an exhibition and performance event to accompany the conference. Artworks should address the conference theme of interactivity and/or interpassivity. The curators are especially interested in works that participate in practice-as-research or practice-led research.

Proposals will be considered for inclusion not only on artistic, thematic and theoretical grounds but also with consideration of practical and logistical factors. Artists submitting expressions of interest received by the deadline will then enter into a conversation with exhibition organisers to accommodate proposed ideas.

Please send expressions of interest that include a description of the proposed work and how it addresses the conference themes in no more than 250 words to cadre@wlv.ac.uk. Representative images and/or videos (including web links) are encouraged. Deadline 6^th May 2013.

CADRE is formed of five research groups, working in theory and practice-based research across a range of media:

Art, Critique & Social Practice
Communication and Pedagogy
Creative Processes in the Performing Arts
Digital Theory, Technology & Practice
Material and Theoretical Practice

Now in its 5^th year, this annual conference is intended as a forum for discussion, an exploration of the diversity of current PhD research and a facilitation of networking and exchange amongst PhD students in Art, Design, Craft, Performance and Social and Critical Theory.

For further information please visit: http://phdconference.wordpress.com/

Screen Test

Screen Test is a rehearsal for a performance that will never be fully seen.

Screen Test is a piece about process and production.

Screen Test asks questions about performance’s construction and disappearance.

Screen Test is a document; a prove that something happened.

Screen Test is a performance that is somehow absent.

Screen Test wants to be present but can only fail.

Screen Test wants to be (a)live.

Screen Test is nothing but an incomplete fragment.

Screen Test is testing conceptions of time and place in the theatre.

Screen Test was, is and will be choreography.

presented at Performing Arts Postgraduate Performance Series, The Performance Hub, University of Wolverhampton (Walsall) on 4th October 2012

Concept, Choreography and Video: Antje Hildebrandt

Choreography and Performance: Stephanie McMann and Clarissa Sacchelli

Dramaturgical Advice: Elena Koukoli and Stella Dimitrakopoulou

Technician: Patrick Tulloch

Pub-lished

On loosing publishing virginity...

Learning about the 60s (2012)

Concept and Video: Antje Hildebrandt
Choreography: Yvonne Rainer

Interpretation: Jessica Bodington, Jayde Cardin & Emma Morgan

Summer Events

Slow Dance

by Laura and Lauren with Maisie Whitehead and Antje Hildebrandt

Friday 13th July, 5-7pm

Outside Clapham Common Tube Station, London

part of Lambeth's A-Z of Dance 2012

FREE

http://www.lauraandlauren.co.uk/slow-dance.php

Various works

Stereotypology (German version) with Nina Windisch, Learning about the 60s, After the Future: A homage to Bifo with Stella Dimitrakopoulou plus new work (tbc)

Thursday 19th July, 6-9pm

as part of The Industry Invites with work by Antje Hildebrandt and Hamish MacPherson + Martine Painter

Hotel Elephant Gallery, London, SE1 6BD

FREE

http://www.facebook.com/theindustry.hq

Tino Sehgal

Together with lots of other people I'm participating in Tino Sehgal's new work

24th July - 28th October

Tate Modern's Turbine Hall, London

FREE

http://www.tate.org.uk/whats-on/tate-modern/exhibition/unilever-series-tino-sehgal

A Self - Interview 

by Trio Collective

Friday 31st August

at In Dialogue - International Symposium, Nottingham

http://indialogue2012.wordpress.com/

http://triocollective.wordpress.com/category/a-self-interview/

Reading live performance: spectatorship and meaning-production in contemporary European performance practice (Paper)

Wednesday 5th September

at TaPRA Conference 2012 - University of Kent, Canterbury

http://seagullx2.com/TAPRA%20Conference%20Schedule%20-%202012.pdf

New work (title tbc)

with Stephanie McMann and Clarissa Sacchelli

Thursday 4th October, 7.30pm

Performance Hub, Walsall, University of Wolverhampton

as part of PhD Performance Series with work by Daniel Somerville, Gemma Collard-Stokes and Antje Hildebrandt

Trio Collective: A Self-Interview

Trio Collective: A Self-Interview is a performance that takes the form of a self-interview of the collective, which acts as a mode for questioning, understanding and performing our collaboration. The text is based on several self-interviews that took place during our creative process and served as methodological tools for our performances. The performance derives from texts developed in June 2009 and in April 2012, therefore making explicit a gap in both our personal and collective memory, as well as interrogating our collaborative process through past, present and future times.

We will discuss issues arising from our collaboration including the relationship between talking and doing, different modes of communication, misunderstandings and failures, responsibility and decision-making. The members of the collective are both interviewers and interviewees –exchanging roles and seeking identities. Questioning issues of authorship and non-hierarchical working structures, we are trying to define and organise the fluid boundaries that exist within our modes of production.

Seeking alternative ways to work together (not always being able to be at the same place at the same time), we have formed a virtual rehearsal space that acts as a platform for collaborative performance practice. The resulting blog is a curious archive. It flattens the perception of time as a linear development and presents it as fragmented and incomplete. It gives the illusion of Trio as a coherent entity (we are all on here together), but has yet to overcome its differences and inconsistencies.

Conference Presentations:

4 May 2012: Symposium ON COLLABORATION at Middlesex University, London

http://mdxoncollaboration.blogspot.co.uk/

15 May 2012: CADRE Research Student Conference 2012 ON PERFORMATIVITY at the University of Wolverhampton

http://phdconference.wordpress.com/

30 July 2012: In Dialogue Symposium at Nottingham Conference - with a special performance by Michelle Lynch on Skype

http://indialogue2012.wordpress.com

CADRE Research Student Conference 2012

On Performativity

14^th – 15^th May 2012

University of Wolverhampton

Admission free

This annual conference is intended as a forum for discussion, an informal survey of current PhD research and a social occasion for the facilitation of networking and exchange amongst PhD students in Art, Design, Craft, Performance and Social and Critical Theory.

More information: http://phdconference.wordpress.com/

Registration:

Please email cadre@wlv.ac.uk by 26th April 2012

Centre for Art, Design, Research & Experimentation

School of Art & Design

Lecture Theatre MK045 (Ground Floor)

University of Wolverhampton

City Campus North, Molineux Street, Wolverhampton, WV1 1DT

Research Student Conference 2012 at the University of Wolverhampton

Open Call for Papers

4th Annual Research Student Conference in Art & Design hosted by the Centre for Art, Design, Research and Experimentation (CADRE) at the University of Wolverhampton, UK

The conference, which takes place on the 14th May 2012, is intended as a forum for discussion, an informal survey of current PhD research and a social occasion for the facilitation of networking and exchange amongst PhD students in Art, Design, Craft, Performance and Social and Critical Theory. There is no over-arching theme to the conference this year and one of our aims is to let themes emerge from the submission process engendering new debates and discussions.

For the Call for Papers and more details check out the website at http://phdconference.wordpress.com/

Autumn Events

Hello World!
This autumn I'm involved in 3 events which I would like to invite you to. I'm performing a new short piece with Elena Koukoli, I'm curating and presenting an afternoon of performances with Stella Dimitrakopolou and Katerina Paramana in Sheffield and I'm presenting at a conference at the British Library. It would be great to see you at one or more of the events (see details below).

Stereotypology - a response to Katharine Tolladay's Spectrum
part of Metamorphose (4 - 25 Nov)
Private View: Friday 4 Nov 7-9pm (Performance times: 7.30pm & 8.30pm)
Islington Arts Factory, 2 Parkhurst Road, London, N7 0SF
http://www.islingtonartsfactory.org/

Performing Text / Reading Performance - An afternoon of live performance, video and installation works
part of Pandemic (5 - 12 Nov)
Saturday 12 Nov 4-7.30pm
Bank Street Arts, 32-40 Bank Street, Sheffield, S1 2DS
http://bankstreetarts.com/events/?Current

The Future of Arts Research Conference
Friday 18 Nov
Conference: 9.30-5pm at the British Library, 96 Euston Road, London, NW1 2DB
Post-conference event: 5.30-9pm at the Centre for Creative Collaboration, 16 Acton Street, London, WC1X 9NG
http://www.rhul.ac.uk/artssocsci/thefutureofartsresearch.aspx

Happy autumn!

Academic Summer

As I approach the end of the first year of my PhD, I am 'on tour' with my performance lecture Open Offer for Elbow Room - A Silent Lecture this summer. After an initial presentation at the postgraduate student conference 'Production' in Wolverhampton last week, I will stop at Central School of Speech and Drama this Thursday, 14th July, as part of the 'Authoring Theatre' conference, after which I will meet other postgraduate students at the 'Life Beyond the PhD' conference at Cumberland Lodge (Windsor) in Mid-August and my final stop will be York St John University on Thursday 1 September where I will present/perform at the 'Philosophy & ... ' conference.

I will also be performing in Metrology by Katerina Paramana presented as part of STOFF - Stockholm Fringe Fest 2011 on Friday 26 August.

For information on any of the events, please see below:

http://www.authoringtheatre.org.uk/
http://www.cumberlandlodge.ac.uk/our_conferences/forthcoming_conference_pages/Life+Beyond+the+PhD
http://w3.yorksj.ac.uk/arts/faculty-of-arts/events/philosophy-conference.aspx
http://www.stockholmfringe.com/

Happy (academic) summer everyone!

PRODUCTION - 3rd PhD Student Conference University of Wolverhampton

Performing Sayings

Dear Elena, Michelle, Stella, World

TASK #3: Collect, perform and record three sayings.

Definition of saying: a well-known and wise statement which often has a meaning that is different from the simple meanings of the words it contains. (definition from Cambridge Dictionary Online)

Notes: You can choose to take sayings from your native language and directly translate them into English (they don’t have to make sense). The actual saying should appear written or verbally sometime/somewhere before, during or after the performance. You can choose whatever medium you feel fit to perform and record your sayings and you should post them online.

I would like to thank you from the bottom of my heart.

Antje Hildebrandt (Director)

Bibliography (Work in Progress)

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Banes, S. & Lepecki, A. (Eds.). (2006). The Senses in Performance. London: Routledge.

Bennett, S. (1997). Theatre Audiences: A Theory of Production and Reception. New York: Routledge.

Bishop, C. (Ed.). (2006). Participation. London: Whitechapel; Cambridge, Mass.: MIT Press.

Blau, H. (1990). Repression, Pain, and the Participation Mystique. In The Audience (pp.144-209). Baltimore: John Hopkins University Press.

Blau, H. (1987). Odd, Anonymous Needs: The Audience in a Dramatized Society. In Performing Arts Journal 10 (1). (pp. 34-42).

Bourriaud, N. (2002). Postproduction: Culture as screenplay: How art reprograms the world. New York: Lukas & Sternberg.

Bourriaud, N. (1998). Relational Aesthetics. Les presses du rèel.

Conroy, C. (2010). Theatre & The Body. Houndsmills, Basingstoke, Hampshire: Pelgrave Mcmillan.

Etchells, T. (2004). A six-thousand-and-forty-seven-word manifesto on liveness in three parts with three interludes. In A. Heathfield and H. Glendinning (Eds.), Live: Art and Performance (pp.210-217). London: Tate Publishing.

Fischer-Lichte, E. (1997). The Show and the Gaze of Theatre. Iowa City: University of Iowa Press.

Fish, S. (1980). Is There a Text in This Class?. Cambridge, Mass.: Harvard University Press.

Freshwater, H. (2009). Theatre & Audience. Houndsmills, Basingstoke, Hampshire: Pelgrave Mcmillan.

Goldberg, R. (1993). Performance Art: From Futurism to the Present. London: Thames & Hudson.

Handke, P. (1969). Offending the audience. In Kaspar and other plays. New York: Hill and Wang.

Heathfield, A. (2009). Intangibles of performance. In ENPARTS (European Network of Performing Arts) Babylon Europe: Boundless languages (pp. 40-47). International Conference Proceedings November 29th 2008. Venice: Marsilio Editori.

Heathfield, A. (2004). Alive. In A. Heathfield and H. Glendinning (Eds.), Live: Art and Performance (pp.6-15). London: Tate Publishing.

Jauss, H.R. (1982). Toward an Aesthetic of Reception. Minneapolis: University of Minnesota Press.

Kunst, B. (2009). The Economy of Proximity: Dramaturgical Work in Contemporary Dance. In Performance Research 14 (3), (pp. 80-87). London: Routledge.

Lepecki, A. (2005). Exhausting Dance: Performance and the Politics of Movement. London; New York: Routledge.

Lepecki, A . (Ed.). (2004). Of the Presence of the Body: Essays on dance and performance theory. Middletown, Connecticut: Wesleyan University Press.

Lepecki, A. (2004). Concept and Presence: The Contemporary European Dance Scene. In A. Carter (Ed.), Rethinking Dance History: A Reader (pp.170-181). London; New York: Routledge.

Malzacher, F. (2004). There is a Word for People Like You: Audience – The Spectator as Bad Witness and Bad Voyeur. In J. Helmer & F. Malzacher (Eds.), Not Even a Game Anymore: The Theatre of Forced Entertainment (pp.120-135). Berlin: Alexander Verlag Berlin.

McAulay, G. (2000). The Spectator in the Space. In Space in Performance: Making Meaning in the Theatre (pp. 235-277). Ann Arbor: University of Michigan Press.

Merleau-Ponty, M. (1962, 1999). The Phenomenology of Perception. London: Routledge.

Mulvey, L. (1989). Visual Pleasure and Narrative Cinema. In Visual and Other Pleasures. London: Macmillan.

Phelan, P. (1993). The Ontology of Performance: Representation without Reproduction. In Unmarked: The Politics of Performance (pp.146-166). London: Routledge.

Puchner, M. (2002). Stage Fright: Modernism, Anti-theatricality, and Drama. Baltimore; London: John Hopkins University Press.

Rancière, J. (2009). The Emancipated Spectator. London: Verso.

Read, A. (2009). Theatre, Intimacy & Engagement: The Last Human Venue. Houndsmills, Basingstoke, Hampshire; New York: Palgrave Macmillan.

Ridout, N. (2006). Embarrassment: The Predicament of the Audience.In Stage Fright, Animals and Other Theatrical Problems (pp.70-95). Cambridge: Cambridge University Press.

Sörenson, A. (2008). Art Object. Ballettanz Dance in Art: Ballettanz das Jahrbuch 2008 (pp. 74-81). Berlin: Friedrich Berlin Verlag.