Collaboration in Performance Practice

1. Front Matter

   Pages i-xvii

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2. Collaborative Performance-Making in Context

   1. Collaborative Performance-Making in Context

      • Noyale Colin, Stefanie Sachsenmaier

      Pages 1-24

3. Premises – Modelling Collaborative Performance-Making

   1. Front Matter

      Pages 25-25

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   2. Contemporary Collaborations and Cautionary Tales

      • Simon Murray

      Pages 27-50

   3. Collaboration, Democracy and the Total Artwork

      • Alexandra Kolb

      Pages 51-74

   4. I Want to Work With You Because I Can Speak for Myself: The Potential of Postconsensual Collaboration in Choreographic Practice

      • Martina Ruhsam

      Pages 75-92

   5. Since Each of Us Was Several: Collaboration in the Context of the Differential Self

      • Laura Cull Ó Maoilearca

      Pages 93-107

   6. Collaboration as a Mode of Labour

      • Noyale Colin

      Pages 108-129

4. Workings – Ways of Practising Collaboration

   1. Front Matter

      Pages 131-131

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   2. Ten Propositions for Research-Creation

      • Erin Manning

      Pages 133-141

   3. Rowing to Hilversum: Double Vision in Performance and Architecture

      • Ewan Forster, Christopher Heighes

      Pages 142-157

   4. The Author of the Gift: The Practice of Authorship

      • Tim Jeeves

      Pages 158-178

   5. Asking ‘What is Collaboration?’ on Behalf of Jerzy Grotowski

      • Kris Salata

      Pages 179-196

   6. Te Kore and the Encounter of Performance

      • Carol Brown, Moana Nepia

      Pages 197-220

   7. ‘Nothing About Us Without Us’: Collaborations between Disabled and Non-Disabled Practitioners

      • Pedro de Senna, Caroline Bowditch, David Bower

      Pages 221-235

5. Failures – Compromising and Negotiating the Collaborative Self

   1. Front Matter

      Pages 237-237

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   2. Positive Negatives: Or the Subtle Arts of Compromise

      • Susan Melrose

      Pages 239-258

   3. Messy Bits

      • Emilyn Claid

      Pages 259-279

   4. Productive Misapprehensions: Artscross as a Cross-Cultural Collaborative Zone of Contestation of Contemporary Dance Practice

      • Stefanie Sachsenmaier

      Pages 280-302

6. Back Matter

   Pages 303-311

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Collaboration between artists has been practised for centuries, yet over recent decades the act of collaborating has taken different meanings. This publication examines cultural, philosophical and political issues tied to specific instances of collaborative practice in the performing arts. Leading scholars and practitioners review historical developments of collaborative practice and reveal what it means to work together in creative contexts at the beginning of the twenty-first century. Key questions addressed include how artists are developing new ways of working together in response to contemporary economic trends, the significance of collaborating across culture and what opportunities are apparent when co-working between genres and disciplines. Noyale Colin and Stefanie Sachsenmaier present these perspectives in three thematic sections which interrogate the premises of collective intentions, the working strategies of current practitioners, as well as the role of failure and compromise in collaborative modes of creative work. This volume is an invaluable resource for scholars, practitioners and those interested in contemporary artistic methods of working.

• contemporary performance
• practice as research
• performance-making
• creative decision-making
• international collaboration
• interdisciplinary collaboration
• 15th century
• architecture
• collaboration in performance
• dance
• democracy
• oral discourse
• performance
• performance practice
• philosophy
• proposition
• total artwork

• University of Winchester, Hampshire, UK

  Noyale Colin

• Middlesex University, London, UK

  Stefanie Sachsenmaier

Noyale Colin is a lecturer and the course leader of the BA (Hons) Dance programme at University Campus Suffolk, UK. She has worked as a performer and choreographer in the United States and Europe. Her current research examines the politics of co-working in contemporary performance making.

Stefanie Sachsenmaier is Senior Lecturer in Theatre Arts at Middlesex University, UK. With a background as a performer and tai chi practitioner, her research interests centre on the processual in creative practice.

Policies and ethics