Frontmatter 1 Contents 7 Preface: Choreography as Social Practice 11 01.01 The Staging Process - An Object of Research? 15 01.02 The Black Box of the Theatre and the White Cube of the Museum 18 01.03 The Common Working Scheme: The Rosas Dance Company 21 01.04 On Dance History: Freedom? in Choreographic Design 22 01.05 Selecting the Staging Processes 25 01.06 Staging Processes in Dance and Performance: A Historical Outline 31 01.07 Collaborative Formats as Seducers 37 02.
01 Production-Aesthetic Perspectives in Dance and Theatre Studies 41 02.02 Performances, Staging Processes and Social (Inter)actions 58 02.03 Individuum: The Other Side of the Singular Plural 70 03.01 The First Perspective: Theatre Studies and Art History 91 03.02 The Second Perspective: Choreography as 1, 2, 3.Singular Plurals 92 03.03 The Third Perspective: Against the Backdrop of Real Life 96 03.04 Co-Sense - A Basis of Alternative Authorship? 100 04.
01 Defining the Core (of the) Team 103 04.02 Divisional Writing and Collective Creativity 104 04.03 Participation: Evolving Along a Greyscale 105 04.04 The Tripartition Method 106 04.05 Degrees in Participation and the Question of "Power" 114 04.06 A Sense of One's Place 117 04.07 Bourdieu's Theory of Capital in Relation to My Study 118 04.08 The Social Space Model 132 04.
09 Different Types of Capital.and Their Interpretation 135 04.10 Escaping Determinism 138 05.01 Research Scope: La communauté desoeuvrée 141 05.02 Counteracting the Traditional Narrative: The CVs of the Participants 144 05.03 Conception Phase: A Starting Point Is Not a Starting Point 153 05.04 Rehearsal Phase 154 05.05 Reformulation and the Notion of "sens de circulation" 180 05.
06 Social Space: Frictions and Antagonisms 185 05.07 Evaluating the Working Scheme and Social Space Diagrams 186 05.08 Social Networks: A Further Perspective 193 05.09 Micro-Habitus 196 05.10 Media Phase: Internal Discourse 199 05.11 Media Phase: Reportable Portraits from an Outside Perspective 206 05.12 Between Co-Sense (Mit-Sinn) and the Singular 209 05.13 Authorship and Symbolic Capital 211 06.
01 Reversing the Narrative 215 06.02 Depicting the Social Space of Collect-if by Collect-if 229 06.03 Conception Phase, Without Concept 235 06.04 Between All Chairs: Audition 237 06.05 Rehearsal Phase: The Starting Point and Its Difficulties 241 06.06 No Goal? 257 06.07 Social Space Diagram and Workers' Self-Organisation 260 06.08 Media Phase: The Necessities of Retrievability 265 06.
09 A "Remainder" That Cannot Be Fully Grasped. 271 07.01 Undoing Authorship(s) 275 07.02 Un/Presentable(s) - Non-Human Participants 283 07.03 Conception Phase: A Singular Being a Plural 300 07.04 Rehearsal Phase: The Sequences Selected 304 07.05 Media Phase: Questions of Authorship(s) 338 08.01 Three Guiding Research Perspectives 349 08.
02 A Priori Questions 349 08.03 First Perspective - - - A Historical Outline 352 08.04 Second Perspective: An Ontological Reading 356 08.05 Third Perspective: Sociological Enquiry 358 08.06 Co-Sense: A Basis for a New Concept of Alternative Authorship? 365 08.07 Conclusion and Outlook 369 09.00 Bibliography 371 10.00 Table of Illustrations 383.