Performance Generating Systems in Dance: Dramaturgy, Psychology, and Performativity

Contents

• Acknowledgements
• List of Figures
• 1. Introduction: Performance Generating Systems in Dance
• Conceptualizing and researching performance generating systems
• Three analytical and dramaturgical frameworks in application
• - Dramaturgy
• - Psychology
• - Performativity
• PART ONE: DRAMATURGY
• 2. The Dramaturgical Agency of Performance Generating Systems
• Developments in dramaturgical agency
• Departures from choreography
• Differences from improvisation
• Concepts of memory at work
• Memory and agency in performance generating systems
• 3. Analyzing and Notating Performance Generating Dramaturgies as Dynamical Systems
• Notation challenges
• Dynamical Systems Theory
• DST-based tools of analysis and notation
• 4. Recycled Choreographic Memory in relay : Henderson
• Futuring memory
• The dynamics of futuring memory
• Ethics of affecting memory
• PART TWO: PSYCHOLOGY
• 5. The Cognitive Demands and Learning Effects of Performance Generating Systems
• The emergence of dance psychology
• Notes on methodology
• An earned presence
• - Kinaesthetic perception and perceptual integration
• - Recalling and perceiving through memory
• - Constraints and distributed, extended cognition
• - Implicit and explicit learning
• - Disrupting and manipulating implicit processes
• - Unlearning and recalibrating perception
• 6. Learning in Whole in the Head : Forsythe
• Improvisation Technologies : imaging movement modalities
• Building an ensemble: collective memory and skill development
• Opening the near closed ‘soft clock’
• - Generating components within narrow boundaries
• - Self-organizing dynamics and the attractor of emergent performer agency
• Closing the near open ‘supernova’
• - Expanded generating components and exploded boundaries
• - The self-organizing attractor of ensemble memory and agency
• Learning WitH an ensemble
• 7. Unlearning in  I’ll Crane for You : Hay through House
• Testing the boundaries of performance generating systems with Hay through House
• Generating components
• - Practice
• - Adapting performer
• - Score
• - Agreement
• - Transferability
• Learning to unlearn
• PART THREE: PERFORMATIVITY
• 8. Affecting the (Im)possibility of Change: Performativity and Trauma
• Moving from dramaturgy and psychology through performativity
• Performativity: discursive
• Performativity: posthuman
• Potential of change in performance generating systems: phase transitions
• (Un)changeable conditions: trauma
• Performative Agency 
• 9. Transition from Dissociation to Intimacy in Crave : Kaeja
• Craving touch: sourcing dissociation
• Creating ‘touch’
• Safety through transfer
• Phase transition towards relational, performative agency 
• Process strategies 
• 10. Environmental Entanglement in the Dance Machine : Lee
• Querying belonging: sourcing displacement
• A simple dance: devising a consensual feedback system 
• Generating components and phase transition: listening to collective/environmental interaction
• - Transitions from hesitant/unconnected performance to engagement 
• - Immersive rest and robust forms of creative engagement 
• - Invited forms of collaborative engagement 
• Performative strategies 
• 11. Conclusion: Affecting Agency, Learning, and Change through Performance Generating Systems
• The conceptualization of performance generating systems
• Dramaturgical, psychological, and performative case insights 
• The combined theoretical frameworks and their future application 
• Appendix: Methodological Negotiations
• Bibliography
• Index