Autor / Author: Bojana Cvejic

214* What Do We Mean When We Say that We Are Transforming Performance Practice into a Production of Space?

It may seem that “education” is yet another conceptual framework by which the performing arts in Europe have sought a new emancipatory avenue recently. However, the proliferation of projects on education in dance, theatre and performance − academies, conferences, research labs, exhibitions, and texts issued on education, knowledge-production, learning, etc. in the last three years or so − has spurred another movement of thought as its by-product.1 Having little to do with aesthetic formation or political mobilization, movement is more an expression of dynamic forces, too weak in goals and aims to be represented. A number of initiatives and projects forking out of the debate on education created another dynamic in the field: the one of articulating and reorganizing work as a practice that implicates but does not center on education, with respect to the exhausted curatorial concept of research. I will elaborate this movement further as a distinction of practice that can be related to the notion of spatial practice in terms of reconfiguring work into a production of space.  Before clarifying the use …