Performance Research Volume 16 Issue 3

On Participation & Synchronisation

Issue editors: Kai Van Eikels, Bettina Brandl-Risi & Ric Allsopp

ISBN: 978-0-415-674447

In our understanding, ‘participation’ refers to the behaviour of individuals or collectives at the intercept of activity and passivity, of being-moved and moving. Participation does not necessarily imply being involved with groups, institutions, or communities. Participation occurs where an agent receives the impression that his or her own way of undergoing, experiencing, and acting takes places in a ‘real’ or ‘virtual’ proximity to that of others. Instead of reducing this proximity to a pre-figuration of unity (as in many concepts of ‘community’), this issue of Performance Research examines how differences become functional or unfold an organizational potential in processes of participation, without ever vanishing. Synchronizations of actions are key to whether people are motivated to participate, whether offers of participation are accepted or denied, whether participatory efforts are sustained or short-lived. But they also help to set up and model the situational environment of a participatory process, and influence the ‘course’ of such a process and the performative ‘architecture’ of the collective. This rethinking of participation allows for a reconsideration of notions of the performer, the audience, the public, equality, and performance itself.


Ric Allsopp

pp. 1 - 1

What Parts of Us Can Do With Parts of Each Other (and When): Some parts of this text

Kai Van Eikels

pp. 2 - 6

What Parts of Us Can Do With Parts of Each Other (and When): Some parts of this text

Kai Van Eikels

pp. 8 - 11

‘B2B’ [artist’s pages]

Jan-Holger Mauss

pp. 7

Getting Together and Falling Apart: Applauding audiences

Bettina Brandl-Risi

pp. 12 - 18

What There Will Be Instead of An Audience

The Implicated

pp. 19 - 34

‘B2B’ [artist’s pages]

Jan-Holger Mauss

pp. 35

The Art of Being Many: A position paper


pp. 36 - 42

The Outside of ‘Sitting In’: Jazz sessions and the politics of participation

Dana Gooley

pp. 43 - 48

The Diva’s Fans: Opera and bodily participation

Clemens Risi

pp. 49 - 54

‘B2B’ [artist’s pages]

Jan-Holger Mauss

pp. 55

Composing Listening

Bill Dietz

pp. 56 - 61

Now Everybody Sing: The voicing of dissensus in new choral performance

Misha Meyers

pp. 62 - 66

Tuning In/Out: Auditory participation in contemporary music and theatre performances

Katharina Rost, Stephanie Schwarz, Rainer Simon

pp. 67 - 75

‘B2B’ [artist’s pages]

Jan-Holger Mauss

pp. 76 - 77

The Piece Comes to Life through a Dialogue with the Spectators, not with the Performers: An interview on participation with Dries van Noten

Adam Czirak

pp. 78 - 83

LIGNA: The Call of the Mall

Ole Frahm

pp. 84 - 88

Out of Sync: Curation, participation and reactional pathways

Georgina Guy

pp. 89 - 93

Given the Felix Gonzalez Torres’s Case: The art of placing a different idea of participation at our disposal

Sandra Umathum

pp. 94 - 98

‘B2B’ [artist’s pages]

Jan-Holger Mauss

pp. 99

De-aging Dancerism? The aging body in contemporary and community dance

Nanako Nakajima

pp. 100 - 104

Theatre On Call: Participatory fainting and Grand-Guignol theatre

Karen Quigley

pp. 105 - 107

Worst Participatory Experiences

pp. 108 - 112

Here, There and In-Between: Rehearsing over Skype

Peter Petralia

pp. 113 - 116

Enter the Game: The role of the spectator in the performances of She She Pop

Annemarie Matzke

pp. 117 - 120

‘B2B’ [artist’s pages]

Jan-Holger Mauss

pp. 121 - 122

Sounding Off: Performance, dyssynchrony and participatory media

Heather Warren-Crow

pp. 123 - 126

‘B2B’ [artist’s pages]

Jan-Holger Mauss

pp. 127


Claire Hind

pp. 128 - 130

Notes on Contributors

pp. 133 - 134