Collaboration in performance practice: premises, workings and failures
- Submitting institution
-
Middlesex University
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 1546
- Type
- B - Edited book
- DOI
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10.1057/9781137462466
- Publisher
- Palgrave
- ISBN
- 9781137462459
- Open access status
- -
- Month of publication
- December
- Year of publication
- 2015
- URL
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http://eprints.mdx.ac.uk/16469/
- Supplementary information
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- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- The publication, with editing, extended introduction and a sole-authored chapter by Sachsenmaier, was conceived to fill a gap in critical thinking with regard to collaborative practices of performance-making. Existing narratives concerning collaboration tended to be principally located within the discourse of modernism and postmodernism, offering an idealised conception of collaboration recurrently identified with radical artistic gestures challenging dominant modes of socio-political structures.
Opening new critical explorations into the ways that collaborative practices had taken different meanings driven by changes and developments in the wider cultural and socio-political environment, the editors initially organised two symposia at Middlesex University (2012-2013), out of which the edited collection culminated.
The publication overall constitutes an appraisal of key critical ideas around the notion of collaboration within the discipline of performance, including dance and theatre practices. The range of critical voices represented cover a variety of aspects of collaborative practices, thematising issues ranging from theoretical models to ones regarding the politics and ethics of collaborative modes of performance-making. The volume is structured in three thematic sections that interrogate the premises of collective intentions, the working methods of current practitioners, as well as the role of failure and compromise in collaborative modes of creative work. The various chapters thematise the shifting and unstable nature of collaborative modes of working, covering aspects such as interdisciplinary and cross-disciplinary collaborations, cross-cultural collaborations and collaboration between disabled and non-disabled artists.
Sachsenmaier’s chapter specifically discusses issues concerning identity politics in the context of the cross-cultural AHRC-funded project Artscross, which brought together dance practitioners from China, Taiwan and the UK. Challenging East/West binary thinking, the collaborative encounters are here conceived as ‘productive’ in the sense of being transformative to each practitioner involved, as part of a process of renegotiation what dance might be.
- Author contribution statement
- -
- Non-English
- No
- English abstract
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