Choreo-graphic Figures. Deviations from the Line is an interdisciplinary research collaboration involving artist Nikolaus
Gansterer (Austria), choreographer Mariella Greil (Austria) and art-writer Emma Cocker (UK) for investigating those forms
of ‘thinking-feeling-knowing’ produced within collaborative exchange between the lines of drawing, choreography and writing.
This project addresses the materiality of the choreo-graphic and the elasticity of figures, exploring the performativity of
notation by developing shared choreo–graphic figures (figures of thought, speech, movement) for making tangible this enquiry.
Choreo-graphic Figures. Deviations from the Line investigates the nature of ‘thinking-in-action’ or ‘figures of thought’ produced
as the practices of drawing, choreography and writing enter into dialogue, overlap and collide, attending to the specificity
of and slippages between these modes of inscription. Central is an attempt to find ways of better understanding and making
tangible the process of research in and through practice — the unfolding decision-making, the dynamic movements of ‘sense-making’,
the durational ‘taking place’ of something happening live — and for asserting the epistemological significance of this habitually
unseen or unshared aspect of the artist’s, choreographer’s or writer’s endeavor.
Choreo-graphic Figures. Deviations from the Line gives tangible articulation to the meaning and weight of relations as generative
forces within the making of knowledge, attending to the flows of thinking (with and between) operative within artistic enquiry,
and in recording these modes of (non-)visual sense-making. Through processes of reciprocal exchange, dialogue and negotiation
this research pressures drawing, choreography and writing beyond the conventions, protocols and domains of each discipline:
for choreography, beyond the domain of the body and space of the theatre; for drawing, beyond the domain of the two-dimensional
page; for writing, beyond the domain of language, the regime of signification. The collaborative research quest is one of
tracing and understanding these permeable frontiers, to challenge the assumptions of the clear-cut disciplinary line and produce
new articulations of ‘expanded practice’.
Choreo-graphic Figures. Deviations from the Line gives makes productive the close relation between the German words “Aufzeichungen”
(notes) and “Zeichnungen” (drawings), conceiving of the ‘in-between-space’ from draft to articulation as a site of potential
for unexpected connections. To explore the performative character of notation, the researchers practice kinetic as well as
graphic modes of inscription, expanded tactics extending beyond apparent physical limitations (of the mind, the hand, pencil
and paper), integrating time, sound, movement and narration through the embodied practice of choreographic performance.
Choreo-graphic Figures. Deviations from the Line unfolds through a series of intensive ‘Method Labs’ where the key researchers
come together geographically in one place to practice thinking-moving relationally and to develop singular and sharable forms
of practice-as-research. For the symposium Gansterer, Greil and Cocker propose to share and stage findings from their recent
‘Method Labs’ by presenting a series of ‘kinetic diagrams’ or “choreo-graphic figures” (e.g. figure of arrival, figure of
touch [approaching the other], figure of ‘becoming comma’) in the form of a hybrid performative lecture involving live performance,
drawing and spoken word.
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